The Vale Press was a contemporary of Willam Morris's Kelmscott Press. The types used by the Vale Press were designed by artist Charles Ricketts, who also supervised the design and printing of Vale Press books. The main type used, Vale, was based on the Jenson 15th century roman type style. The King's Fount was an experimental semi-uncial font based on the Vale type. The King's Fount was designed in 1903 for the Vale edition of the 15h century poem "The Kingis Quair". This semi-uncial font evokes old English and Anglo-Saxon lettering. P22 Vale Pro combines the two fonts P22 Vale Roman and P22 Vale King's Fount into one "Pro" font. This pro font also includes a Central European character set, old style figures, fractions, ornaments and a special faux "Middle English" feature to make "anee text appeer Olde." This feature is not known to exist in any other font.

Hyomenha is an elegant script fon and handwritten font. Its natural and unique style makes it incredibly fitting to a large pool of designs.No matter the topic, this font will be an incredibly asset to your fonts library, as it has the potential to elevate any creation, this font was designed to enhance the beauty of your projects.

Anttalla is modern script calligraphy font, include front swash and ending swash for lowercase glyph, combine it to make the best word for your design. Anttalla font perfectly match for design like banner, book cover, t-shirt, branding, promotion, social media post, quotes, wedding, photography and more. Hope you enjoy with our font! Attype Studio

Roller Poster is named after Alfred Roller. In 1902, Roller created a poster to advertise the 16th exhibit of Austrian Artists and Sculptures Association, representing the Vienna Secession movement. The exhibit was to take place in Vienna during January & February 1903. The location is not mentioned because everyone in Vienna knew it would be held at the exhibit hall in the Secession Building at Friedrichstraþe 12, a few blocks south of the Opernring, near the Naschmarkt. Designed by Joseph Maria Olbrich in 1897, the buiilding has been restored and stands today as one finest of the many fine examples of Art Nouveau architecture in Vienna (see vienna_secession_bldg.jpg). Because of its dome, it is called “the golden cabbage.” The poster itself is unique. The word “secession” is in one type style and takes up two-thirds of the elongated poster. At the bottom of the poster are the details in a different lettering style. It is this second style at the bottom that is the basis for the font Roller Poster. In keeping with our regular naming conventions, we were going to call it Roller Gezeichnete (hand-drawn), but the wonderful play on both words and the shape of the three S’s in secession was too compelling. In November 1965 there was an exhibit of Jugendstil and Expressionist art at the University of California. Alfred Roller’s Secession Poster was part of that exhibit. Wes Wilson was designing promotional material at Contact Printing in San Francisco. Among their clients was a rock promoter named Bill Graham, staging dance-concerts at Fillmore Auditorium. Wilson saw the catalog from the UC exhibit and Roller’s lettering. Wilson adapted Roller’s letter forms to his own fluid style. The result was the poster for the August 12-13, 1966 Jefferson Airplane/Grateful Dead concert at Fillmore put on by Graham (BG23-1). Wilson continued to use Roller’s letter forms on most of the posters he did for Graham through May 1967, when he stopped working for Graham. The posters were extremely successful and the lettering style along with Roller’s letter forms were picked up by other artists, including Bonnie MacLean, Clifford Charles Seeley, James Gardner, and others. The Secession poster and the Fillmore posters have inspired a number of fonts in addition to ours. Among them are JONAH BLACK (& WHITE) by Rececca Alaccari, LOVE SOLID by Leslie Carbarga and MOJO by Jim Parkinson. Each is different and yet each clearly shows its bloodlines. Our font differs in two ways: 1) the general differences in the interpretation of the letter forms and 2) the modification of the basic letter form to incorporate the diacriticals within the implied frame of the letter, after the manner of the original design by Roller. We borrowed Carbarga’s solution to the slashed O and used it, in a modified form, for other characters as well to accomplish the same purpose. We recommend that you buy ours and at least one of the other three. According to Alaccari, a version called URBAN was released by Franklin Lettering in the 70’s (and is shown on page 51 of The Solotype Catalog). For comparison of our font to original design, see image files roller_poster_2s.jpg of original poster and roller_poster_2sx.jpg showing reconstruction using our font for the lower portion (recontructed area indicated by blue bar). Please note the consistency of character width. In the lower case, 23 of the basic 26 letters are 1/2 EM Square wide. The ‘i’ is an eighth narrower, while the ‘m’& ‘w’ are one quarter wider. All the Upper Case letters are 1/8 EM wider than the lower case. This is to make it easier to fill a geometrical shape like a rectangle, allowing you to capture a little of the flavor of Wes Wilson’s Fillmore West poster using only a word processor. We have also included a number of shapes for use as spacers and endcaps. If you have a drawing program that allows you to edit an ‘envelope’ around the letters to distort their shape, you can really get creative. I used Corel Draw for the gallary images, but there are other programs that can accomplish the same thing. The image file “roller_poster_keys.jpg” shows the complete character set with the keystrokes required for each character (see “HiH_Font_readme.txt” for instruction on inserting the non-keyboard characters). The file “roller_poster_widths.jpg” shows the exact width of each character in EM units (based on 1000 units per EM square). You will notice that the font is set wide for readability. However, most programs will allow you to tighten up on the character spacing after the manner of Roller & Wilson. In MS Word, for example, go to the FORMAT menu > FONT > CHARACTER SPACING. Go to the second Drop-Down Menu, labeled ‘Spacing’ and select "condensed' and then set the amount that you want to condense ‘by’ (key on the little arrows); two points (2.0) is a godd place to start. Let your motto be EXPLORE & EXPERIMENT. Art Nouveau has always been one of my favorite movements in art -- I grew up in a home with a couple of Mucha prints hanging on the living room wall. Perhaps because of that and because I lived through the sixties, I have enjoyed researching and designing this font more than any other I have worked on. Let’s face it (pardon the pun), Roller Poster is a FUN font. You owe it to yourself to have fun using it.

Be a trendsetter and get prominent with the best style from the Finest Romance. Finest Romance is a duo font from mixtures of serif and script fonts. This harmonic duo font work hand in hand to produce marvelous designs because it expresses modernity, elegance and a little romance. Additionally, the geometric serif font’s letters are simple and consistent for a great legibility purpose. On the other hand, the script font’s letters are designed to be similar to a handwriting by adding more variations to the letters with curves and final swinging wipes. You can use this font together or separately based on your necessity. With this font’s amazing features, you can enhance your design products. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Finest Romance fits for various design projects, such as posters, banners, logos, magazine covers, quotes, name cards, invitations, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Hopefully, you have a great experience using our font. Feel free to contact us if you require more information when you are dealing with a problem. Thank you. Happy designing.

Evening Paper JNL, one could say, was "culled from the headlines". It was. The front page headlines from some 1938 newspapers archived online were the basic model for this font. The typeface design goes back to a font first issued by Ludlow in the 1920s.

Hellebore is a font inspired by the logo and the game Mortal Shell itself. The font conveys the medieval era, the spirit of cutting weapons and dark fantasy. It is sinister, dark, dark, Gothic, rough and sharp. Perfect for logos, headlines, posters, banners. The font is named after the plant of the same name. The name conveys the font's mood.

Pizza is a font fusion of our Saloon Girl and Mi Casa font families. Our new Pizza font will look great for headlines in your new restaurant menu as well as the sign out front. Pizza offers different levels of ornamentation to choose from to best suit your design needs. Pizza Margherita is a solid black version for plain text. Fill fonts are also available, however, you'll need an application that works in layers to take advantage of the Pizza fill fonts. Fill fonts in the Pizza font family are not meant to be used as a stand alone font, please use the Pizza Margherita font if you need a solid black weight. Pizza is a trademark of FontMesa LLC, initial release December 6-2021

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. <

Noman - Bold Display Fontl, retro looking display font. Whether you use it for cartoon related designs, children games or just any creation that requires a lovely touch, this font will be an amazing choice. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) Ligature

I am not really fond of Garden Gnomes, but this font is kinda cute and I figured it'd be a nice name. Garden Gnome is a very happy, easy to read Children's Book font. It is bouncy, rounded and comes with all the diacritics you need.

SK Leshiy is an authentic monumental font inspired by ancient Slavic legends and fairy tales. This font combines geometric and natural forms, each of its symbols creates a unique image of a fabulous creature that hides in the forest thicket. The SK Leshiy font has a basic and alternative character sets that allow you to expand the font's capabilities and its decorative functions. The font supports a multilingual set and an extended table of Cyrillic and Latin characters.

BRINNA Text is an expressive font with small-sized brushes, which features all caps. It has alternates that are cast in lowercase and alternate letters, which are encoded for capital letters. In addition, this font also comes with many ligatures, numbers, punctuation marks and multi-languages support. This font can be used for design purposes that require handwritten style fonts, headlines, branding, stationery, posters, banners, websites or other designs that are dynamic and fancy. To fully access the font's features, we recommend using programs that support OpenType features. Enjoy this fun and expressive font!

Islandia is simple script font with wide characters. It's relaxing font and easy to use, you don't need any design software to access all characters. Islandia doesn't have uppercase, the uppercase replaced with lowercase that contains tails or swash in the front. Standard multilingual characters, numeral and punctuation included.

Rioma is a geometric typeface inspired by a legend of type design: Antique Olive. As a font family, Rioma ships in two different formats. Depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 16 static OpenType font files instead. Those weights run from Light to Heavy. While the static-format fonts offer a good intermediary-step selection, users who install the two Variable Fonst have vastly greater control over their text’s stroke width.

Tombo Brush is an interesting font that combines brush font’s artistic and organic characteristics with even line edges which are clear and firm. Furthermore, the capital letters express more modern, simple impressions by following the brush script font’s characteristics of the soft and smooth brush wipes, yet the even smooth lines on the edges show clearer, firmer nuances. Bright and contrast colors can show interesting, dynamic nuances on designs with this font. The even edge lines will ease the application of colors and show clearer visual effects separated from the background. You can apply this font for big text sizes for a legibility reason and also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Tombo Brush fits best for various design projects, such as brandings, quotes, printed products, merchandise, social media, etc. 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.

Mugio is the latest addition to our San Serif font family. Mugio is a one-of-a-kind font that can be used for any project. It includes a lot of qualities that make it particularly powerful and handy for making elaborate designs. This font’s slanted letters and curves make it ideal for logos, flyers, posters, and a wide range of other typographic projects. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

Festivo Font Family is a handmade layered font which includes several textures, shadows. Different font types can be created using various combinations of Festivo Fonts and colors. All fonts of Festivo letters are created as hand-drawn design based on F.L. NO:8 Font's Letters. The fonts No:16, No:17 and No:19 have the same metric and kerning structure than the other Festivo Fonts except No:18. So each one of these 3 fonts are a layer. But they can also be use as wide spaced fonts. No:18 is specific with its metric and kerning structure which was formed by No:17 but No:18 is its bold version. It was designed as a supplemental font. The fonts No:12 and No:15 can be used as shadows. This font family also includes a few ornaments. For your convenience, the files of the fonts were termed by their numbers. The various possibilities of the Festivo Font Family allows you to create a lot of great works such as posters, magazines, printings, t-shirts etc.

A warm duo of fonts in front of you! This is a super duo with lots of ligature. This is perfect for logos, wedding invitations, easter, posters, business cards, logos, headlines, Instagram stories, youtube stories, book cover, poster promotion and many more! Get the best pairing fonts with Chelsea Olivia!

Makeba Retro Funky Groovy Font is a fun and funky display font that brings back the spirit of the 70s. Its bold, rounded letters feature groovy curves and playful embellishments that exude a retro vibe. This font is perfect for creating eye-catching titles and headlines for posters, album covers, and other retro-inspired designs. The font’s energetic and upbeat personality is sure to make any project stand out.

This beautiful handwritten font we made very attractive with a natural touch we worked back to clean smudges and into smooth lettering it's easy when you cut as well as print stickers and other cool work you're working on this font has 3 front swashes and 3 back swashes for lowercase and one alternative for uppercase, 98 ligature Fonts include uppercase and lowercase letters, punctuation numbers, and language support

Rundfunk-Antiqua was originally designed as a font for small point size and shorter texts. It was presented 1933/35 by Linotype Designstudio but unfortunately never developed as a font family, including only Antiqua roman and sans-serif bold. Such an unusual combination resulted from the font combinations common during that time. The font’s basic forms tend toward the Transitional style but its details come from the influence of Jugendstil.

Prosto Sans - this font family for any occasion. You can use these fonts almost everywhere. The modern open grotesque forms and classic font family formula: Thin, Light, Regular, Bold, Black and Italics. Prosto Sans is the assistant to work for any projects. Optimized for the websites, mobile applications, and printing materials. We offer you to have a look at this font’s narrow version, which is called TT Prosto Sans Condensed.

Excellent futuristic font with pretty rounded angles will fit any title or heading. It supports more than 20 European languages. This font is unique for it's elegant and thin letters. Font's idea came to the designer in the late autumn when tender yellow leaves fell to his hands. The combination of straight lines and bows had sparked a thought about the font, that could be used as awesome decoration.

This is the Cased version of my NorB Pen fonts are being inspired from Arial Round font, I use this font regularly in my jazz lead-sheets. It's a handwritten text font emulating marker permanent pen. You can use this font with any word processing program for text and display use, print and web projects, apps and comic books, graphic identities, branding, editorial, advertising, scrapbooking, cards and invitations and any casual lettering purpose… or even just for fun! Pen cased font8 weights, each with their matching italics and in a Light, Normal, Bold and Heavy version.

ROBUCK is a family Sans Serif font designed with carefully handcrafted. Also suitable for branding, T-shirt, Wedding Invitation, Classic Design, Logotype, and any project. All caps fonnts.

Best life - This cool one line handwritten font is very stylish and elegant that has a great style for your work with hearts in the middle and also lowercase swashes in front and back and lowercase swashes on back and hearts in front of letters to connect.

Churchward Tua and Churchward Tua Italic are two more OpenType font releases by Bluhead Studio from the exciting and unique library of Joseph Churchward type designs. The Tua fonts sport an Old West, cattle drive sort of look. One can imagine Tua being used on the swinging front doors of the local saloon or jailhouse. These fonts are perfect for headlines, posters or wherever you want to express your inner cowboy. Giddy-up!