This font includes the symbols Valknut, Triple spiral, Triquetra, and Horn Triskelion, associated with Odin, and ancient Norse and Celtic cultures. Each of these symbols is presented in outline and solid forms, and in vertically and horizontally mirrored forms. For text, use it with PR-Viking.

Flying, elegant, handwritten font Orange Mochi. The font is built on the basis of personal handwriting, has narrow and wide glyphs, brave external elements, alternative letters and funny ligatures. The font works well in an array of text, titles and logos. Display font Extended latin & cyrillic

Kab has a big impact, is very legible and at the same time has plenty of details that makes it really unique. Perfect for headers and display, it also can be used at smaller sizes and even as a body text with great results. Complete character set.

Neue George Pro is an Elegant contemporary sans serif font family of 8 fonts. Designed with clean and stylized modern European geometry with harmonious appearance for both texts and headlines. Neue George is perfect companion for branding, editorial and signage, also works great for bigger applications.

Crude Stencil JNL is a rough auto-tracing of a vintage lettering stencil from the 1980s, with additional characters added in post-production. At small type sizes, the lettering takes on a "grunge" effect, but larger scale text will reveal more of a jagged "cut paper" look.

Biosphere is inspired by industrial style typeface that's will give look a modern and technical industrial display font. That will take any design idea to the next level, covering a wide range of project types such as poster design, book covers, prints, headlines, id cards, packaging, branding.

Pelican was designed by Arthur Baker and released by Agfa Compugraphic in 1989. Pelican is a calligraphic typeface that is distinguished by the irregular shapes of the lowercase letters. The rough-edged quality of Pelican makes it a good choice for informal display work and short texts.

Cydnel Modern Vintage Font, special glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

Introducing Walahard, Walahard is a sweet, soft handwritten font. Get inspired by its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards. Ready to use for projects, texts, letters, or whatever you want!

Inspired by food labels, signs and coats of arms, PR Scrolls is a collection of images which can be used for framing text in contexts where antiquity, craftsmanship, or traditional quality are conveyed. Most of the glyphs are presented in a range of four or more widths.

Moondays Font is a unique and contemporary serif font that adds a distinctive aesthetic to your design projects. This versatile display font is perfect for creating eye-catching headlines, titles, and logos. Discover the beauty of Moondays Font and elevate your designs to the next level.

Nelliy Modern Vintage Font, special glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

Delphe Modern Display Font, special glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

Mariné Rounded is a geometric sans, but with the softness of humanistic strokes. Its mild contrast and multiple different styles allow Mariné to work well both as a text and display typeface. It also includes an Up version and calligraphic features adding a touch of informality.

Michael Script - a casual handwritten style font with a range of ligatures, opentype stylistic ends, decorative swashes, perfect for any awesome projects that need handwriting taste. Suggested for logos, titles, body texts, branding, invitations and also when used along other fonts with strong and bold styles.

Qualettee is a decorative sans face with a high x-height that works surprisingly well for text. The lightest weight is almost moonline but as the styles get bolder, the contrast increases, becoming very pronounced. The family has ten members: five weights with italics for each weight.

RBNo2.1 is a condensed sans serif typeface with a technical and geometric appearance. The family includes 2 versions (RBNo2.1a and RBNo2.1b) and has 7 weights with matching italics. RBNo2.1 feels comfortable in technical surroundings with short text passages, in brochures, catalogs, magazines, posters, websites headlines and logos.

Galandrie Modern Display Font, special glyphs, ornament and multilingual support. It's a very versatile font that works great in large and small sizes. Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image.

A modern rounded typeface combining humanist elements with a strong geometric grid. The result is a font that can produce striking visuals at large scale and clean line legibility at text size. Details include seven weights, a complete character set, manually edited kerning and Euro symbol.

A movie poster for the 1952 Dean Martin & Jerry Lewis comedy “Sailor Beware” had the text rendered in a casual style of brush lettering similar to that found on store show cards. This inspired Show Card Brush JNL, which is available in both regular and oblique versions.

Bold, black and square. But was first drawn as a logotype for the magazine "BUT – Bilder und Texte" (pictures and texts) which was published by an experimentally-oriented non-commercial initiative. In consideration of the unusual dimensions of the magazine (6 x 14 cm / 2,4 x 5,5 inch), I decided to fill as much space as possible with the body of type. This formal idea refers to the meaning of the title by blurring the border between legible letters and abstract shapes. Because of its origin, But is ideal for short messages in headline point size. Despite its blocky shapes, But creates a friendly atmosphere. The details are as playful as the restrictions that are given by the concept allow them to be. Punctuation marks and other special characters contrast the boldness of the design since they are matching the thin parts of upper- and lowercase letters. This also avoids gaps when longer texts are set. But is available in open type format and has an extended character set (Latin extended A). Two sets of numerals, one matching the x-height and another one matching the cap-height, are provided.

Audacious is a quirky, confident and adorable serif type family across five weights in both text and display styles. This attention-grabbing retro typeface has an imperfect nature that embraces its quirks and irregularities, giving each font a distinctive and somewhat oddball personality. Its defining characteristics include large open counters, awkward stresses, large exaggerated wedge serifs, and voluptuous teardrop terminals. Whatever typographic compositions you create, Audacious will demand attention, making it perfect for titling, headlines, logotype, and branding projects. Take advantage of the 182 stylistic alternates to embellish your type and add that touch of class to titles and logos. Display weights work really well with close line spacing and stunning headlines are a breeze to create. Text weights make for a pleasant reading experience while packing all the punch and versatility found in the display variants. There are 20 fonts altogether, in Text and Display styles with weights from Regular to Black in both roman and italic. Audacious has an extensive character set that covers all Latin European languages. Key features: 2 Styles in Roman and Italic 5 weights: Regular, Medium, SemiBold, Bold, & Black 182 Alternates Full European character set (Latin only) 1100+ glyphs per font.

I'm happy to present you my new Romanesque font from the Codex Gigas. The manuscript was created in the early 13th century in the Benedictine monastery of Podlažice in Bohemia. The codex was written in a handwriting atypical for the 13th century, which is actually a late version of the Carolingian minuscule. Texts about repentance and exorcism were written in large Majuscule (Square Capitals (Imperial Roman capitals written with a brush)). Majuscules first incised in stone more than two millennia ago, married to minuscule letterforms that evolved from manuscript hands of the eighth and ninth centuries. Majuscule font is the name given to a type of decorative upper-case letters used in inscriptions and, typically, at the start of a section of text in medieval manuscripts. They are characterized by their straight forms unlike rounded in Lombardic capitals with thick, curved stems. Majuscule capitals were also used to write words or entire phrases. The text is divided into words, punctuation marks are used consistently – periods indicate the end of a sentence and the middle of a phrase. You will get: * Uppercase glyphs * Numbers and symbols * Multilingual support * Ligatures * Free future updates Thank you!

Henrician can claim two sources of inspiration. One of these was a set of beautiful capital letterforms seen on the cover of a 19th century album of engravings. The engravings contained therein depicted lovely examples of half-timbered Tudor architecture and there was a clear 'Tudor' intent behind the letterforms. The second source of inspiration is more conceptual-the title lettering of period films from the 30's to the 60's…think if the opening text when Errol Flynn plays Robin Hood, or think of Richard the Lionheart, or even that great comedy Classic 'Carry on Henry', and it's discussion of Sir Thomas de Cobbler….but we digress! Henrician is a set of eight display and text (but perhaps not Body Text) faces in a 'Tudor Revival' spirit. Like any good revival design they are somehow at home with a wide range period themed design work, covering the medieval until, perhaps, the 18th century, just so long as we're more concerned with fun and appearance than strict historical accuracy. The family will be at home in the realms of advertising, posters, cover design and web design. Try Henrician out today!

Trigomy is a proportional pixel font designed on a 5 pixel grid. It is intended for either very small text or as huge display font for posters and the like. To get a crisp look this font should be used at 10 pt or multiples of 10 pt. (A tip for Adobe Creative Suite applications is to change the standard anti-aliasing method from “sharp” to “crisp” and to align the text to whole pixels. Also avoid centered text.) To get started with type design I thought it was best to start with a pixel font because you don't have to focus much on the design itself, but rather have to focus on how kerning and spacing works and the various features you can implement with OpenType. And of course I wanted to have a pixel font that had all that I was missing from other pixel fonts. We were learning trigonometry at the time I started designing Trigomy, and most of the time I misspoke it “trigometry”. So, when I had to come up with a name for my first font I thought: "Why not go with Trigomy?"

PT Root is a contemporary sans serif with strict, laconic forms. It’s a versatile typeface that provides a wide range of possibilities. Regular style works great in long texts (both on screen and in print), as well as in the interfaces. Medium and Demibold are good for signage, while the lightest and boldest styles look great in large sizes and are suitable for the brand identity. PT Root is a sans serif with 10 weights and a variable version. Its character set includes extended Latin and extended Cyrillic, three arrow variants, fractions, index numbers and letters. PT Root automatically lifts dashes and brackets with the case change. Its characters have stylistic variants, including the single-storey a, a strikethrough zero and some local alternates for Bulgarian and Serbian Cyrillic. PT Root can work in a project both independently and in pairs. Contemporary serif typefaces are the best text companions for it — try for example PT Serif, Yefimov Serif or Scientia. In case PT Root is the only text typeface in the project, then combine it with serious typefaces, such us technical (Din Condensed as an example) or pronouncedly contemporary typefaces, including postmodern ones, from Stapel or Spile to Helsa.

Mellow Sans is a soft and friendly rounded sans serif. Its bold styles are great for packages of something tasty, while light and regular ones work well in rather long texts, from a children's book to a reading app, or a family restaurant menu. The typeface was created by Natalya Vasilyeva, an expert in designing text and calligraphic typefaces. Mellow Sans’s forms are based on humanist sans serifs. The nobility and liveliness of Renaissance calligraphy reads beneath its curves and makes the typeface even friendlier, while helping the eye to move along the line. The typeface supports extended Latin, extended Cyrillic (all major languages of the Russia’s peoples) and Greek. It also has old style figures, arrows and non-alphabetic signs. With Mellow Sans as a heading typeface (in that case bold styles fit the best), calm open sans serifs, f.e. Vast or Fact, are its optimal text companions on the screen. Calm serifs, f. e., Octava, Scientia or Aelita, will work as its companions on paper. And to create expressive typography, for example, in packaging, you can match Mellow Sans with quirky rounded serifs — Cooper or Epice.

Sprig is a dynamic font that combines in-your-face chutzpah with contemporary brushstrokes. The character shapes are contained, yet give a feeling of casual, off the cuff ease. In some, subtle ways it pays its respects to the sign painters of the 30s and 40s The font comes in three styles: - Display, with extravagant upper case characters and some opentype features - Text, with more contained upper case characters (suitable for "all caps" use) and some opentype features - Professional, where OpenType features include alternative upper case characters (both the TEXT the DISPLAY caps), as well as a number of ligatures. (For use in applications that access OpenType features.) What this means is that Sprig Pro combines all the characters of Sprig Text and Sprig Display in one font and it also has additional ligatures. Sprig Pro contains over 283 characters, while all styles of Sprig contain a full upper and lower case character set, punctuation, numerals, symbols and accented characters for both all characters that they contain. It has all the accented characters used in the major European languages. The Sprig User Guide provides you with more information on how to use Sprig Pro.

A brighter slab n’ sans in 18 styles Referred to as Egyptian’s in the early years of the nineteenth century, today slab serifs are primarily used in display sizes but seldom used in body text. With Mislab, Xavier Dupré has designed a brighter and more legible slab serif than most. Mislab aptly combines the strength of a slab serif with the lightness of a sans serif. Bold and thick serifs make for strong impact in display uses while performing extremely well under the most stressful body text conditions. A slight cursive feel adds spice to the text while its delicate rounded rectangular structure is naturally adapted to screen displays. The capitals have fully assumed serifs while the lowercases have more discreet versions. Notable features include sanserif endings on the lowercase a, c, e & s, inducing fluidity and enhanced readability. This highly versatile typeface brings clarity to headlines. Mislab will provide foolproof stability to your layouts. Mislab, a new design by Xavier Dupré Type Directors Club 2014 Tokyo TDC 2014 Communication Arts Typography Awards 2014 Club des directeurs artistiques, 45e palmarès Slanted: Contemporary Typefaces #25

Veronika is a semi-serif text face, available in three styles: Regular, Italic, and Bold. All three faces are available in OpenType format, with both lining and old-style figures. Grüger, a German artist and designer, first began the design of her typeface by writing out its letterforms with a wooden stylus. She wanted to create a new semi serif face that had uniform stroke widths, but still maintained some aspects of calligraphy. Veronika achieves this; the terminals that begin the first strokes of most letters are round and bulbous, as if the writing instrument added extra emphasis on that spot. This adds a dynamic, movement-like quality to texts designed with Veronika. Aside from some sans serif-ness, Veronika appears similar to old style typefaces from the renaissance: classical inscriptions inspired the proportions of the capital letters, and the lower case letters stem from Carolinian minuscule. These proportions allow Veronika to function very well in text and at small sizes. However, only when you design larger headlines, logos, or other elements with Veronika, will you notice all of its special qualities, like its weight distribution and stroke characteristics.

OPEN SERIF - answering the question “what font pairs well with Open Sans?”. Designed by Steve Matteson for extraordinary legibility and comfortable reading on screen and in print. Open Interpretation: Not quite Veronese – not quite Egyptian. A dash of panache in an otherwise sturdy serif typeface. Open Serif is an elegant text and display typeface family. Open Interiors: Visually open and legible at text sizes just like its cousin Open Sans. Open Serif reads smoothly but has an energetic texture. The chancery style italic contrasts nicely to the roman in a full bodied nod to Italian Renaissance forms. Open Type: Open Serif is full of OpenType features including Small Capitals for the Roman, Italic Swash Capitals and Old Style Figures for both. Open Translation: Supporting all the languages available in Open Sans, Open Serif completes the translation capabilities of international companies. Extended text is more pleasant to read in a serif typeface so go global with a unified typeface family! Open Face: Open Serif Titling is an elegant companion to round out the family. These ‘open-face' capital letters are ideal for initial letters, mastheads, titles and decoration.

Fer is a sans-serif font for body text, not lacking in its own distinctive voice. The aftertaste of reading the text set in Fer is like reading the letters on old rusty plates somewhere in Southern Europe, hence the name (Fer means iron in French). Being a modern system that includes a variable font with weight and optical size axes, Fer combines the features of geometriс sans serifs and old sans serifs with closed apertures. The typeface contains three sets of styles: for captions, text and headings, — with the weight ranging from regular to black. Fer was created with the idea to unite nations. The Latin character set supports all European languages, most African languages and Vietnamese. Cyrillic has support for all living Cyrillic languages and some obsolete characters too. The font also supports the Greek language. Additionally, the character set includes currency signs of all supported languages’ countries, old style, lining, tabular and proportional figures as well as numbers in squares and circles. Lastly, the font has lots of localized letterforms and stylistic sets. Fer was designed by Dmitry Goloub for Paratype in 2020–2023.

What makes "Logopedia Now" unique is that it has a strong body, upper and lower case letters are the same size and work in perfect harmony. All letters in the character have "alternatives" in various numbers. This feature provides you variety in your designs. It is possible to take your designs to the next level by using "Logopedia Now". "Logopedia Now" is ideal for especially logo design, advertising and packaging, branding and creative industries, banners and billboards and signage as well as web and screen design. "Logopedia Now" provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Logopedia Now 500 Regular” forms the central point. "Logopedia Now" comes 3 weights and italics total 6 types. The family contains a set of 543 glyphs. Classes and Features, Stilistic Style, Fractions and Old Style Numerator just one touch easy In all graphic programs. "Logopedia Now" is the perfect font for web use. Be sure to check out the other siblings of "Logopedia". - Logopedia Now - Logopedia Now Soft - Logopedia Next - Logopedia Next Soft You can enjoy using it.

What makes "Logopedia Now Rounded" unique is that it has a strong body, upper and lower case letters are the same size and work in perfect harmony. All letters in the character have "alternatives" in various numbers. This feature provides you variety in your designs. It is possible to take your designs to the next level by using "Logopedia Now Rounded". "Logopedia Now Rounded" is ideal for especially logo design, advertising and packaging, branding and creative industries, banners and billboards and signage as well as web and screen design. "Logopedia Now Rounded" provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Logopedia Now Rounded 500 Regular” forms the central point. "Logopedia Now Rounded" comes 3 weights and italics total 6 types. The family contains a set of 543 glyphs. Classes and Features, Stilistic Style, Fractions and Old Style Numerator just one touch easy In all graphic programs. "Logopedia Now Rounded" is the perfect font for web use. Be sure to check out the other siblings of "Logopedia". Logopedia Now Logopedia Now Rounded Logopedia Next Logopedia Next Rounded You can enjoy using it.

A typeface with lightly-worn futurism, Sagittarius is equally at home among the beauty and wellness aisles, or the coils of the warp core. The Sagittarius typeface was designed by Jonathan Hoefler in 2021. A decorative adaptation of Hoefler’s Peristyle typeface (2017), Sagittarius’s rounded corners and streamlined shapes recall the digital aesthetic of the first alphabets designed for machine reading, a style that survives as a cheeky Space Age invocation of futurism. Sagittarius was created for The Historical Dictionary of Science Fiction, where it first appeared in 2021. From the desk of the designer: Typeface designers spend a lot of time chasing down strange valences. We try to figure out what’s producing that whiff of Art Deco, or that vaguely militaristic air, or what’s making a once solemn typeface suddenly feel tongue-in-cheek. If we can identify the source of these qualities, we can cultivate them, and change the direction of the design; more often, we just extinguish them without mercy. Sometimes, we get the chance to follow a third path, which is how we arrived at Sagittarius. During the development of Peristyle, our family of compact, high-contrast sans serifs, I often found myself unwittingly humming space-age pop songs. Nothing about Peristyle’s chic and elegant letterforms suggested the deadpan romp of “The Planet Plan” by United Future Organization, let alone “Music To Watch Space Girls By” from the ill-advised (but delicious) Leonard Nimoy Presents Mr. Spock’s Music from Outer Space, but there they were. Something in the fonts was provoking an afterimage of the otherworldly, as if the typeface was sliding in and out of a parallel universe of high-tech spycraft and low-tech brawls with rubber-masked aliens. It might have had something to do with a new eyeglass prescription. But I liked the effect, and started thinking about creating an alternate, space-age version of the typeface, one with a little more funk, and a lot more fun. I wondered if softer edges, a measured dose of seventies retrofuturism, and some proper draftsmanship might produce a typeface not only suitable for sci-fi potboilers, but for more serious projects, too: why not a line of skin care products, a fitness system, a high-end digital camera, or a music festival? I put a pin in the idea, wondering if there’d ever be a project that called for equal parts sobriety and fantasy. And almost immediately, exactly such a project appeared. The Historical Dictionary of Science Fiction Jesse Sheidlower is a lexicographer, a former Editor at Large for the Oxford English Dictionary, and a longtime friend. He’s someone who takes equal pleasure in the words ‘usufructuary’ and ‘megaboss,’ and therefore a welcome collaborator for the typeface designer whose love of the Flemish baroque is matched by a fondness for alphabets made of logs. Jesse was preparing to launch The Historical Dictionary of Science Fiction, a comprehensive online resource dedicated to the terminology of the genre, whose combination of scholarship and joy was a perfect fit for the typeface I imagined. For linguists, there’d be well-researched citations to explain how the hitherto uninvented ‘force field’ and ‘warp speed’ came to enter the lexicon. For science fiction fans, there’d be definitive (and sometimes surprising) histories of the argot of Stars both Trek and Wars. And for everyone, there’d be the pleasure of discovering science fiction’s less enduring contributions, from ‘saucerman’ to ‘braintape,’ each ripe for a comeback. A moderated, crowdsourced project, the dictionary is now online and growing every day. You’ll find it dressed in three font families from H&Co: Whitney ScreenSmart for its text, Decimal for its navigational icons, and Sagittarius for its headlines — with some of the font’s more fantastical alternate characters turned on. The New Typeface Sagittarius is a typeface whose rounded corners and streamlined forms give it a romantically scientific voice. In the interest of versatility, its letterforms make only oblique references to specific technologies, helping the typeface remain open to interpretation. But for projects that need the full-throated voice of science fiction, a few sets of digital accessories are included, which designers can introduce at their own discretion. There are alternate letters with futuristic pedigrees, from the barless A popularized by Danne & Blackburn’s 1975 ‘worm’ logo for NASA, to a disconnected K recalling the 1968 RCA logo by Lippincott & Margulies. A collection of digitally-inspired symbols are included for decorative use, from the evocative MICR symbols of electronic banking, to the obligatory barcodes that forever haunt human–machine interactions. More widely applicable are the font’s arrows and manicules, and the automatic substitutions that resolve thirty-four awkward combinations of letters with streamlined ligatures. About the Name Sagittarius is one of thirteen constellations of the zodiac, and home to some of astronomy’s most inspiring discoveries. In 1977, a powerful radio signal originating in the Sagittarius constellation was considered by many to be the most compelling recorded evidence of extraterrestrial life. Thanks to an astronomer’s enthusiastically penned comment, the 72-second transmission became known as the Wow! signal, and it galvanized support for one of science’s most affecting projects, the Search for Extraterrestrial Intelligence (SETI). More recently, Sagittarius has been identified as the location of a staggering celestial discovery: a supermassive black hole, some 44 million kilometers in diameter, in the Galactic Center of the Milky Way. <

Erik Spiekermann, working in collaboration with Ole Schäfer, originally designed FF Info® Display for use in the context of wayfinding systems. The variants FF Info™ Text and FF Info™ Correspondence were developed later for text setting and office communication. FF Info Display The sober and clear forms of the sans serif FF Info Display have been deliberately molded to make them perfect for use on wayfinding systems. The font by Ole Schäfer and Erik Spiekermann not only takes the problem of lack of space into account - it is some 15% narrower than comparable typefaces - the characters have also been designed to ensure they remain legible even in adverse conditions for reading. As text on signs often contains words with which readers are unfamiliar and which are thus deciphered letter for letter rather than perceived as whole words, it is essential to provide for a clear differentiation between glyphs. Additional serifs on the lowercase "i" and uppercase "I" and a small arch on the terminal of the lowercase "l" ensure that it is possible to readily discriminate between these particularly problematic letters. Moreover, sharp corners on glyphs can also make it difficult to read signs with backlighting or when driving past. The rounded corners of FF Info Display counteract this effect and make sure that the character forms remain well defined.FF Info Display is available in five carefully coordinated weights, from Regular to Bold. In the corresponding italic variants, the letters appear overall more rounded while the lowercase "a" has a closed form and the "f" has a descender. Also included among the glyphs of FF Info Display are several ligatures and arrow symbols. Pictograms with different themes that complement the typeface are also available in four weights. FF Info Text Thanks to his know-how gained through designing other typefaces, Erik Spiekermann became aware that fonts created for use in problematic environments can be used in many different situations. In smaller point sizes, FF Info Display cuts a fine figure when used to set longer texts. So Spiekermann carefully reworked FF Info Display to produce FF Info Text, a font perfected for use in this context. Not only can the characters be more generously proportioned, certain features, such as additional serifs to aid with the differentiation of problematic letters, are also no longer necessary in textual surroundings. The upright styles have a double-story "g" while Spiekermann has added oldstyle figures and small caps. FF Info Correspondence FF Info Correspondence has also been designed for setting block text although it recalls the style of old typewriter characters and is specifically intended for use in office communication. The characters of this third member of the family are thus more formal, without rounded terminals but with rectangular punctuation marks. The narrower letters are provided with large serifs to give them more space although, at the same time, this reduces the differences in terms of letter width among the alphabet. In contrast with its two siblings, FF Info Correspondence has only three weights, each with corresponding italic.The three styles of the FF Info super family cover an extensive range of potential applications. If the different kerning is adjusted manually, the three styles harmonize happily with each other and can be readily used in combination to set, for example, headlines and texts and also creative display options.

Alf R. Becker was a noted sign painter, designer and the creator of hundreds of unique alphabets which were published in the trade magazine Signs of the Times during the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media [and who is also the curator of the American Sign Museum in Cincinnati], Jeff Levine received some reference material on Becker's work. Becker displayed many of his type styles within decorative panels—a popular trend in the days when signs were hand-lettered. Using the reference material as a guide, Jeff has re-drawn twenty-six sign panels for adaptation to digital print work. While the designs in themselves are not thoroughly unique to Alf Becker, he has left behind some tangible examples of how sign painters embellished their lettering work. With the use of complementary colors and tones, these panels—joined with vintage lettering - classically recreate the warm and attractive advertising of years ago.

Rocka & Billy is a bold script font inspired by Retro and Modern hand lettering style, so you can use this font into any style of your design. It includes standard Multilingual support and OpenType features such as Standard Ligatures, Discretionary Ligatures and Stylistic Sets (ss01 - ss09). Rocka & Billy is great for Logotype, Branding Design, Logo Design, Digital Lettering Arts, Instagram Design, T-Shirt/Apparel, Badge, Packaging, Poster, Magazine, Book Cover, Quotes, Signs, Advertising Design, and any design needs. You can access all those alternate characters by using a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Mix and match the alternate characters to add an attractive message to your design. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Need help? Please, Feel free to contact me by e-mail yyudhara@gmail.com for any question about my font, Extended License document and more. Good Luck and Have fun ! YdhraStudio

A long lost Art Nouveau wood type from the Hamilton Museum Collection evokes the excesses of Victorian design and the equally quirky 1960s Psychedelic era revival of the Victorian type styles. Free flowing organic designs that flourished with Art Nouveau in the late 1800s were directly referenced and further distorted with with phototype in the late 1960s. This design, known as Arabesque, was produced by the Morgans & Wilcox Co. and the Wm. Page Co. as almost identical designs. Both manufacturers were acquired by Hamilton and offered briefly by Hamilton as design #618. This curious wood type defies most of the basic tenets of type design and what comes to mind when one thinks "wood type". Many characters have a lively eccentricity that were all left true to the original design. Additional characters were designed to fill out the standard range of characters found in digital fonts. This font includes over 280 characters for full unicode support of Western and Central European Latin characters.