This is the digitization and considerable expansion of the cheeky and enormously popular film type Eightball, one of the most widely used faces of the 1970s and 1980s. Round and happy like a bouncy ball, these are letters after a sign maker’s own heart. Seen everywhere in its film version, from bingo and pool hall parlor signs to comic books, now this computer version opens the door for the happy roundness to be used on a much larger scale by anyone who designs layouts on a computer. The original film type included a few alternates. We included them, but we added many more as well. So make sure to check out the various OpenType features in your program while using this font. Eightball is great for a variety of applications, including signage, rubber stamps, poster design, titling, cartoons, comics, and pretty much anything where happy and round fit in.

Rahere Informal is a slab semi-serif typeface that has a seriously charming personality and a little spring in its step. Serifs bend and flick, giving the characters a spirited, almost calligraphic feel. It's lively and friendly without being whimsical, great for messages that need a casual but credible tone with a bit of zing in the mix. Rahere Informal is suitable for a wide range of applications such as information signage, packaging, advertising, brochures, catalogues, screen text, visual identities and opera festivals. Want an annual report that pleases the board, shareholders and investors? Set it in Rahere Informal - that’ll put a smile on everyone’s face. The family comes in six weights from light to extra bold with corresponding italics. The lighter weights are more delicate, an evenly-spaced flamboyance of flamingos basking in the sun. As the weights get heavier, characters transform into a tight-knit group of line dancing rhinos. All styles contain a set of swash caps, a few ligatures and alternatives. Nice. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans and Rahere Slab). If a companion sans serif is needed, Rahere Sans is the ideal partner. They are both part of the extended Rahere typeface family and have been designed to complement each other. Seriously charming, charmingly serious. Seriously, what more do you want from a typeface? Rahere, founder of St Barts in London The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

Part of the extended Rahere typeface family, Rahere Slab is a humanist slab serif (or Egyptian) in six weights from light to extra bold with corresponding italics. Rahere Slab – like its sibling Rahere Sans – features subtle detailing, giving the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere Slab is a versatile, workhorse typeface that is suitable for a wide range of applications such as information signage, packaging, annual reports, advertising, brochures, catalogues, screen text and visual identities. Slab serifs are ideal for projects that need to convey a sense of authority tempered with diplomacy or messages that just need some serious oomph – and Rahere is a great slab for the job. The italic lowercase is more cursive and expressive than the roman and when they’re used together it displays enough character to create emphasis without looking out of place while harmonising admirably. Set on its own (for example, pull-out quotes), the italic exudes a charm that draws attention to the text. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans too) – indispensable for financial tables in annual reports. If a companion sans serif is needed, Rahere Sans is the perfect partner. They are both part of the extended Rahere typeface family and have been designed to complement each other beautifully. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

Introducing my new font Anordighos, a casual script font to give your design a more personal touch and makes the font looks being customized. This font is suitable to use for logotypes, product design, labels, watermark, social media posts, apparel, invitations, signboards, sport club, motor/car, special events or anything that need handwriting feeling. What you get: - Anordighos includes capital and lowercase letters, Alternates, and Ligatures - Numbers + punctuation - Foreign language support I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. Anordighos is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send a PM or email to kotakkuningstudio@gmail.com. Thanks for purchasing and have fun! Note: The shadow effect is not included in the font, it's only for this presentation purpose.

Two attractive cast metal door signs reading "Men" and "Ladies" from back in the Art Deco era inspired the idea for Nameplate JNL. The left parenthesis key starts the border decoration, and the right parenthesis key closes it off. Nameplate JNL has just a basic A-Z and numeral set; the letters "floating" within the parallel lines of the border to form complete nameplates, apartment numbers or any similarly encased words. A period, comma, apostrophe and dash are on their respective keys. A small blank space is on the left bracket key, a medium space is on the right bracket key and a large space is on the left brace key. There is a small, complete frame on the right brace key. For names such as "MacDonald" or "McIntyre", the small "ac" is on the colon key and the small "c" is on the semicolon key. No kerning has been applied in order to give the type more of an antique, "mechanically assembled" look.

Durham Latin brings the Latin style from the Industrial Revolution to the modern era. These letterforms could be seen painted on a road sign in France, engraved in a sign over a tavern door in London, or seen on a playbill in America. The rich and varied history of these forms inspired me to capture that personality, and interpret it in a way that fits the wide range of needs of modern designers. Condensed forms and strong serifs imbue Durham Latin with a presence that can’t be ignored yet doesn’t overwhelm. It shines as a powerful display font, and becomes affable when used at smaller sizes for subheadings. Durham thrives in spartan and ornate environments alike. Durham Latin features Outline and Fill variants that allow for more creative display elements. The lowercase are 80% height small caps. Each font contains 448 characters and has full Western European support. Advanced typographic features are built in, including tabular numbers, fractions, arrows, and more.

Houschka Alt Pro is a carbon copy of the Houschka Pro family with one key difference: the rounded signature glyphs A & W on the default positions swap places with their straight alternates. Houschka was named after Georg Houschka, a sadly defunct confectioner’s shop in Salzburg, Austria, which had a wonderful 1930s frontage and distinctively rounded letterforms in the sign above the door. Houschka Pro is the follow up to the original Houschka type family which first appeared back in 1999. Character shapes have been improved, kerning and spacing refined, and OpenType features include CE, Baltic, Turkish & Cyrillic language support plus small caps, 3 stylistic sets, contextual alternates, ligatures and 4 sets of numerals. Houschka is a clean and legible modern sans serif typeface which shares the humanist qualities of Gill Sans and Johnston but retains a uniquely charming character of its own (particularly in signature glyphs A, G, Q, W, u & w). The monolinear structure, rounded corners and rolling curves give Houschka a soft and friendly appearance.

Originally commissioned in 1979 as a new corporate typeface for Volkswagen AG, the VAG Rounded™ family’s geometric sans letterforms feature distinct rounded terminals, imparting the design with a friendly, approachable demeanor. With its design led by Gerry Barney, the VAG Rounded family remained in use for Volkswagen AG’s unified, worldwide automobile marketing for over a decade. The design was released for public use in 1989, and was bundled with many desktop publishing software titles available at the time. This opened the door for millions of computer users to work with the VAG Rounded type family. Available in four weights—from thin to black the VAG Rounded family is an apt choice for logo design, identity systems, or any application where a typographic warmth is desired. For contrast in voice, consider pairing the design with a more reserved serif typeface, or a sans serif with narrow styles, such as those found in the Alternate Gothic, Trade Gothic, or FF DIN type families.

TA Regresso PRO graphic presentation at Behance TA Regresso PRO font is inspired by Didon and Bodoni fonts. A combination of a little Bodoni and a little Didon elements and a unique style and Text, Display, Subhead and about 80 styles, it is a font that gives the user a choice. TA Regresso font supports Greek, Hebrew, Cyrillic and Latin alphabets. After starting work on the font since February of last year, the font is ready today with constant revisions. Being open to learning, I sought help from experienced designers. I must mention that Yulia Gonina, the founder of Schrifteria Foundry, also helped me a lot to make Regresso good. With her knowledge and advice, the flaws in the font were eliminated. By the way, Viktor Baltus also helped me with his valuable advices. I did some research about the alphabets of the supported languages so that Regresso is good. I paid a lot of attention to the correct design of the letters. I will fix the problems I missed in the next updates of the font. I would be happy if you send me your work when you use my font. I'm very interested in where you use my font. TA Regresso PRO contains 200+ Latin and Cyrillic, Greek, Hebrew languages. TAFT produce retail typefaces, create custom fonts and even do Greek, Hebrew and Cyrillization. Our mission is to create and distribute only carefully drawn, thoroughly tested, and perfectly optimized typefaces which are available to a wide range of customers. If you're looking for a type or logo → t@taft.work

An upright typeface family developed to meet the demand for letters to produce pupil material for handwriting as well as for reading. Upright letters with extended ascenders and descenders are ideal on screen. They facilitate word recognition. The exit strokes link words together visually, and in handwriting they lead to spontaneous joins along the baseline leading logically to a joined-up hand. Teachers can print desk strips, charts of letter families and alphabet friezes, as well as consistent material across the curriculum. Together these typefaces provide a valuable resource for special needs teachers. When starting point and stroke direction has been learned, the arrow font (Tracker B) can be dropped and the simpler Tracker font used. Tracker B font, with its direction arrows helps pupils to start in the correct place. Motor movements can be refined by keeping inside the line. When starting and direction is no problem, the arrow can be dropped and the plain Tracker font used. When starting point and stroke direction have been learned, the arrow font (Dotted B) can be dropped and the simpler Dotted font used. Free to download resources How to access Stylistic Sets of alternative letters in these fonts Purchasers of this font package may use their Order Number to receive a free Copybook PDF by Rosemary Sassoon recommended for effective teaching

Introducing Gadimon Layered Bold Script. This font is used with layers method, so it can generate interesting fonts to see, you no longer need to worry about how to make effects on the text. Use the Gadimon Basic style for purposes without shadow effect and when spacing is important for a project. Gadimon is suitable to use as a logotype, product designs, labels, watermark, social media posts, apparel, invitations, signboards, sports club, motor/car, special events or anything that need handwriting taste. What you get: - Gadimon includes capital and lowercase letters, Alternates, and Ligatures - Numbers + punctuation - Foreign language support I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/application. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me at kotakkuningstudio@gmail.com. Thanks for purchasing and have fun!

Are you trying to find a font to get your brand globally accepted? Worry no more as Decking is the key to unlock the door. Decking is a racing-themed script font to give you artistic, firm impressions due to the balance between solid designs and unique strokes on the edges of each character. The font’s thickness is able to show you the power to any title or header you make. In addition, Decking is still suitable to apply to smaller-sized texts owing to its good legibility. The available features in this font are: Stylistic Sets Ligatures Swashes Multilingual Supports PUA Encoded Numerals and Punctuations Decking fits best for various designs, such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, and more. Find out more ways to use this font by taking a look at the font preview. Enjoy your experience with this font and feel free to contact us for further product information or trouble complaints. Thank you and wish you good luck with your designs.

Inspired by the interior of a now defunct Mosler Safe Company bank vault door located inside of what is now an Irish Pub in Stroudsburg, Pennsylvania, Mosler is a typeface that is impenetrability incarnate. This all uppercase, slab-serif brawny beauty comes in four weights - Safe, Strongbox, Vault, and Fortress, and each one is more powerful than the last. Each weight has 450 glyphs included, making for a whopping 1800 glyphs for the full family, complete with small capitals, total support for nearly 80 different languages, decorative word glyphs, and a handful of select alternates. Ranging from the low contrast of the "Safe" weight to the extreme contrast of the "Fortress" weight, Mosler is effective in a wide array of applications but serves best as a titling, headlining, or display face that need to make a mammoth statement. Features Include: 4 Weights Uppercase Only with Small Capitals Numerals, Punctuation & Symbols 450 Characters per Style Stylistic Alternates and Word Glyphs Supports 75+ Latin Languages OTF files Designed and Developed by Jason Carne

Houschka was named after Georg Houschka, a sadly defunct confectioner’s shop in Salzburg, Austria, which had a wonderful 1930’s frontage and distinctively rounded letterforms in the sign above the door. Houschka Pro is the follow up to the original Houschka type family which first appeared back in 1999. Character shapes have been improved, kerning and spacing refined, and OpenType features include CE, Baltic, Turkish & Cyrillic language support plus small caps, 3 stylistic sets, contextual alternates, ligatures and 4 sets of numerals. Houschka is a clean and legible modern sans serif typeface which shares the humanist qualities of Gill Sans and Johnston but retains a uniquely charming character of its own (particularly in signature glyphs A, G, Q, W, u & w). The monolinear structure, rounded corners and rolling curves give Houschka a soft and friendly appearance. Houschka Alt Pro is a carbon copy of the Houschka Pro family with one key difference: the rounded signature glyphs A & W on the default positions swap places with their straight alternates.

Dom Loves Mary has a baby brother! Check out Fratello Nick here: http://www.myfonts.com/fonts/correspondence-ink/fratello-nick/ The DomLovesMary font family has all you need to create unique, custom stationery products. THE INSPIRATION BEHIND THE DOMLOVESMARY FONT FAMILY: DomLovesMary is named in memory of Dominic and Mary Sementelli, Debi’s in-laws. Dom and Mary were opposites who were truly “made for each other”. A snazzy dresser, Mary was feisty, loved to dance, sing, and be the life of the party. Dom was cool, calm and collected and was happy to shine the spotlight on the love of his life. They balanced each other out in a really great way. Going through some of her in-laws old photos, Debi found their wedding album. She was struck by the beautiful look on their faces as they got ready to start their life together. She saw the excitement, joy and anticipation of them envisioning “Una Bella Vita!” (A beautiful life!) She decided to create a hand-lettered font with them in mind represented by two totally different lettering styles that were, like Dom and Mary, “made for each other”. It’s her way of honoring them and sharing their beautiful life with all of the couples just starting theirs together. They truly had “Una Bella Vita” and we hope you do too. WHAT'S UNIQUE ABOUT THE DOMLOVESMARY FONT FAMILY: The SCRIPT & TEXT FONTS are lettering styles that were made to compliment each other. With a vintage, classic feel, they will add elegance to your design, while the TEXT serves to offer support with easy to read simplicity. In addition to the standard character set, each of the uniquely styled script fonts includes a collection of flourished ornaments. Use them to create corners, headers or other embellishments to complete the look. And if you really want to fancy things up, we offer two sets of 72 additional flourishes that were specifically made to add to upper and lower case letters for easy customization. Dress them up with one, two or more. It’s like choosing simple pearls or piling on the glitz! Or combine several to create unique flourished ornaments of your own. To add even more panache, we're pleased to present our ready made set of most frequently used ADD-ON WORDS. Created with the wedding client in mind, this set of 66 includes envelope friendly titles: Mr and Mrs, Mr, Mrs, Miss, Ms, Doctor, the Doctors, as well as words to fill out your invitation suite: RSVP, Respond, Save the Date, Accommodations, Directions and more! Easily create Bride and Groom signs or Thank You cards or tags with the click of a key. Or use angled words like “and, at, to, on, for, from and of” to add a special touch to your large groups of copy. PACKAGES: We are pleased to have a variety of customers. From professional invitation designers to DIY brides, publishing companies and website / blog designers among others. So we've created packages to help fit their diverse needs. Purchase just one of our beautiful DomLovesMary SCRIPT fonts, each with its collection of included flourishes or the PRO VERSION complete with ALL THREE script fonts and a combined total of over 100 flourished ornaments. Add our TEXT font, a set of FLOURISHES or ADD-ON WORDS. Love the idea of customizing your letters with all the possible combinations? We offer a special price when you purchase both sets of flourishes. Or choose our Accoutrements Package containing both sets of FLOURISHES for letter customization as well as our ADD-ON WORDS. Want to have it all? The “DomLovesMary Total Design” package is for you. Each of these packages are offered at a 25% savings. WHAT PROGRAM WILL YOU USE?: All of the font options come in both Pro and Standard format fonts. For those with programs that can take advantage of OpenType features (click on the link to see if the program your using is one of them) the Pro fonts are for you. http://www.typotheque.com/fonts/opentype_feature_support/ For others without the ability to use Open Type features, we provide all of the script fonts that comprise the Pro Version as separate versions (Regular, Contextual and Stylistic). If you are using a program like Microsoft Word, and want all three script fonts, you can still purchase the Pro Version (a $50.00 savings), and install the individual fonts bundled in the Standard Fonts folder. We have set it up so they will appear separately as DomLovesMary, DomLovesMary Contextual and DomLovesMary Stylistic in your fonts list. Exciting news! In an effort to help our customers access all the goodies that are normally only available in Open Type Capable programs (like the flourished ornaments that come with our script fonts), we have found a simple application that allows you to do just that. For this reason, we've made sure to unicode all of our characters and glyphs so that they will work in this type of program. There may be others, but we checked this one out and found that it works. Check out PopChar

By the 1990s, the availability of font creation software opened the door to an explosion of creativity, experimentation and exploration into the world of digital typography by amateur and professional alike. The undisputed king of the freeware fonts was Ray Larabie through his Larabie Fonts website. It seemed at the time that Ray’s output was endless, and he amassed dozens upon dozens of fonts that ranged from the ridiculous to the sublime. In fact, Ray was the driving force of encouragement and a behind-the-scenes “mentor” who helped Jeff Levine Fonts get underway in January of 2006. As Larabie’s focus changed to higher-quality commercial type design with the launch of Typodermic, Inc., many of his “less than perfect” font experiments were withdrawn and shelved. Ray eventually turned those lost (and sometimes questionable) typefaces into a bundled zip archive released into the public domain through Creative Commons. One particular design “Boron” (circa 1996) featured computer-oriented lettering as if etched onto a circuit board. Running with this idea, and with Ray's approval, the electronic elements were stripped away, the characters cleaned up and modified, and the font reworked in Retro Checkbook JNL, which is available in both regular and oblique versions.

Coming Together contains over 400 glyphs and is supplied as a single, cross-platform OpenType font. All glyphs are accessible using OpenType-savvy applications, Unicode-savvy utilities, the Character Map utility on Windows, and FontBook on Mac OS X. Nearly 400 designers contributed to “Coming Together”: Adam Humphries, Aditi Dilip, Adrien Midzic, Afraa Gutub, Al Insan Lashley, Alan Lima Coutinho, Alaric Garnier, Alejandro Cabrera Avila, Alejandro Lo Celso, Alejandro Paul, Alessandro Segalini, Alex Cameron, Alex Coblentz, Alexander Trubin, Alexandre Freitas, Alexey Murashko, Alicia Jabin, Aline Horta, Allison Dominguez, Amanda Postle, Amy Brown, Amy Papaelias, Anderson Maschio, Andrea Emery, Andres Perez, Andrew Boardman, Andrew Jesernig, Andrey Furlan, Andrij Shevchenko, Ann Tripepi, Antonio Gutierrez, Antony Kitson, Anushree Kapoor, Anya Cam, AP303 Estudio Design, Becky Krohe, Beejay, Ben Mitchell, Benjamin K. Shown, Benjamin Varin, Brad McNally, Brad Nelson, Bradley Trinnaman, Brady Baltezore, Brandon Horne, Breck Campbell, Brian J. Bonislawsky, Brian Jaramillo, Brian Jongseong Park, Brian Mueller, Brock French, Bruce Rodgers, Bruno Pugens, Bryan Angelo Lim, Buro Reng, Caitlin Martin-Frost, Calou, Carlos Fabián Camargo Guerrero, Carlos Vidal, Cayo Navarro, Cesar Puertas, Chank Diesel, Charles Williams, Chris Lozos, Chris Trude, Christophe Badani, Christy Lai, Claes Källarsson, Claire Coullon, Claudio Piccinini, Colby Cook, Craig Eliason, Cristina Pegnataro, Curve Doctor, Dan DiSorbo, Dan Liggins, Dan Rubin, Daniel Justi, Daniele Capo, Dav(id Hubner), Dave Bailey, Dave Cohen, David Jonathan Ross, David Sudweeks, David Thometz, Dawn Mercurio, Delve Withrington, Diana van de Blaak, Didier Mazellier, Diederik Corvers, Dino Santos, Dmytro Pobiedash, Donald Beekman, Dries Wiewauters, Duncan Bancroft, Ed Hoskin, Eddy Ymeri, Edineide Oliveira, Eduardo Manso, Eduardo Rodríguez Tunni, Eero Antturi, Eli Castellanos, Elias Bitencourt, Elias Stenalt Werner, Elman Padilla, Emery Miller, Emily Leong, Emily Maher, Enrico Limcaco, Eric Frisino, Eric Stine, Erik Brandt, Espen, Evan Moss, Evangeline Rupert, Fabiane Lima, Fabio Foncati, Fabrizio Schiavi, Farbod Kokabi, Felipe Lekich, Francisco Martin, Frank Riccio, Frans van Bellen, Gary Holmes, Gautam Rao, Gayle Hendricks, Gene Buban, Georg Herold-Wildfellner, George Aytoun, Gerd Wiescher, Giles Edwards, Gist Studio, Glen Barry, Glenn Parsons, Goro Mihok, Grace Engels, Grant Alexander, Grant Hutchinson, Greg Smith, Gunnar Swanson, Gustavo Machado, Hans Nieuwstraten, Harold Lohner, Hilary Salmon, Hillary Fayle, Hrant H Papazian, Hugo Gallipoli, Ian Drolet, Ian Lynam, Ilona Kincses, Isac Corrêa Rodrigues, Ivette Chacon, Ivo Federspiel, Jacques Le Bailly, Jae-hyoung Choi, Jaime Vasquez, James Edmondson, James Grieshaber, James L. Stirling, James Lukens-Gable, James Martin, James Ockelford, James Puckett, Jarbas Gomes, Jarett Knuth, Jason Adam, Jason Robinson, Javier Suzuki, Jay Chu, Jayson Zaleski, Jean Francois Porchez, Jeff Fisher, Jeff Jarvis, Jeffrey Vanlerberghe, Jelmar Geertsma, Jennifer Clarke, Jennifer Rutherford, Jens Kutilek, Jerry Allen Rose, Jess Latham, Jesse Ragan, Jessica Page, Jesvin Yeo Puay Hwa, Jim Ford, Jim Lyles, Jim Rimmer, Jin Ping, Jo De Baerdemaeker, Joachim Muller-Lance, Joanna Abbott Moss, Joe Francis, Joe VanDerBos, Joel Vilas Boas (J85), John Downer, John Flanagan, John Foley, John Langdon, John Lopez, John Lyttle, John Skelton, Johnny Dib, Jonathan Hughes, Jonathan Pierini, Jos Buivenga, Jose Luis Coyotl Mixcoatl, Juan Acosta, Judd Crush, Judith Lee, Julie Johnson, Julie Oakley, Julie Thomas, Juliet Shen, Jumin Lee, Jurgen Weltin, Justin Callahan, Justin Chodzko, Karel Piska, Karen MacKay, Karin Eberhardt, Karin van Soest, Karla Perez, Katie Parry, Katie Snape, Katri Haycock, Katy Brooks, Kelley Garrard, Kelly Redling, Kent Lew, Kevin D’Souza, Kevin J. Boynton, Kevin McDermott, Kim Arispe, Kokin, Kristen Caston, Kristen Hartman, Kristian Möller, Kristians Šics, Kyle Jones, L Bollinger, Lan Huang, Larry Van Dyke, Laura Ricker, Laura Worthington, Laurel Wilson, LeAndrea James, Lijklema Design, Linda McNeil, Lise Barreto, Louie Crumbley, Louis Duchesne, Luke Dorny, Luke Stouffer, Madison Cramer, Måns Björkman, Marc Salinas Claret, Marcus Leis Allion, Marcus Parker, Marcus Sterz, Marie-Anne Verougstraete, Mark Simonson, Martin Majoor, Matheus Barbosa, Mathias Forslund, Matt Desmond, Matt McInerney, Matt Millette, Matthew Jerauld, Max Kisman, Michael Browers, Michael Bundscherer, Michael Cina, Michael Doret, Michael G. Adkins, Michael Hernan, Michael Paul Young, Michael Wallner, Miguel Catopodis, Mikael Engblom, Mike Jarboe, Mike Petschek, Miriam Martincic, Moira Sheehan, Monica Pedrique, Nacho Gallego, Naomi Atkinson, Natanael Gama, Nathanael Ng, Neil Fox, Neil Patel, Neil Summerour, Neil Woodyatt, Ngoc Ngo, Nguyen Pham, Nicholas Curtis, Nicole Hudson, Nicole Sowinski, Nicolien van der Keur, Nina Stössinger, Noah Scalin, Ojasvi Mohanty, Oleg Macujev, Olivia Choi, Ong Fang Zheng, Pata Macedo, Patrick Gallagher, Patrycja Zywert, Paul Hunt, Paul Langman, Pedro Moura, Pedro Paz, Per Ohlsson, PJ Onori, Premm Design Ltd, Rae Kaiser, Rafael Carozzi, Rafael Cordeiro, Rafael Neder, Randy Jones, Ray Larabie, Raymond Forbes, Ressa McCray, Ricardo Esteves, Ricardo Martins, Riccardo Sartori, Richard Kegler, Richard Miller, Rob Keller, Roballo, Rose Coplon, Roy Rub, Rudo van der Velden, Russell McGorman, Ryan Rushing, Ryan Thorpe, Sander Neijnens, Sara Cross, Scott Boms, Scott Fisk, Sergio Jimenez, Shi-Min Chin, Sílvio Gabriel Spannenberg, Soohyen Park, Sorin Bechira, Stanley Friesesk, Stefan Hattenbach, Stefan Kjartansson, Stephen Lay, Steve Harrison, Steve Marsh, Steve Matteson, Steve Mehallo, Steve Zelle, Steven Bonner, Steven Wulf, Stuart Brown, Stuart Ford, Stuart Sandler, Sue Zafarana, Sulekha Rajkumar, Susan Surface, Tanya T Stroh, Taylor Loman, Ted Ullrich, Teja Ideja, Tena Letica, Terrance Weinzierl, Theo França, Thiago Martins, Tiffany Wardle, Tim Whalen, Titus Nemeth, Tom Plate, Tom Rickner, Tomato Košir, Tomi Haaparanta, Travis Kochel, Troy Leinster, Tyler Heron, Type Mafia, Vanessa Robertson, Veronika Burian, Victor Esteves, Victor Zuniga, Viktor Nübel, Viviana G, Wellinton Reis, Wilson Thomas, Wolfgang Homola, Xavier Dupre, Xerxes Irani, Zvika Rosenberg These designers represented the following countries: Argentina, Australia, Austria, Belgium, Brazil, Canada, Columbia, Croatia, Czech Republic, El Salvador, England, Finland, France, Germany, India, Ireland, Italy, Japan, Latvia, Lebanon, Mexico, New Zealand, Peru, Poland, Portugal, Scotland, Siberia, Singapore, Slovenia, Spain, Sweden, Switzerland, The Netherlands, Ukraine, United States, Venezuela, Vietnam

“Break on through to the other side” of design with Densmore, the typeface inspired by The Doors. Created with geometric shapes and a hand-drawn touch, this font pays homage to the band’s iconic logo. Featuring three styles, including the regular, blue, and pink, Densmore is perfect for any creative project. Take your design to the next level and experiment with layer effects by offsetting and changing colors. And with ligatures that automatically replace double lowercase “o” combinations with a mirrored “oo” combo, you can add a touch of cool to any project. “Light my fire” and download Densmore today! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Heroid, the typeface that’s as powerful as a superhero! With its bold and daring letterforms, this font is guaranteed to make your design stand out from the crowd. Heroid comes in both regular and bold, so you can choose just how much of an impact you want to make. And with a selection of alternate caps, you can customize your design even further, making it truly one-of-a-kind. This typeface is so strong, it could punch its way through a steel door! So why settle for a plain, boring font when you can have Heroid, the typeface that’s as heroic as you are. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Say hello to another of my hot and trendy scripts, Hot Script! I got the inspiration for this one in the world of sign painters. My neighbourhood, and more specifically the avenue were I live, is very well known for its ''parrillas'': For those who don't know what this means, well, it may be better to live the experience rather than reading these lines. Villa Urquiza is full of restaurants with an argentinian flavour, with a ''gauchezco'' feel. Here you can taste some of the best ''asados'' in the entire world. Ok, this made me hungry, let's go back to type: These amazing venues still mantain genuine elements from the past, and try to preserve the beauty of the handcrafted. Parrillas of Buenos Aires have all their walls, windows and doors lettered with chalk or paint. I've always wanted to make a font out of that, and Hot Script is my first attempt. I believe the results are great! Hot Script follows some rules of the flat brush (see terminals, and tails especially in caps) but its contrast of thicks and thins was manually altered to make the font better for a wider range of uses. Although the sexy curves and versatility of Hot seemed to be enough, I decided to spice it a little more by creating some layers for it: Hot Script Shine Solo or Hot Script Shades Solo combined with Hot Script will give outstanding results. (Look for them combined in the posters above and dare to deny it!) Go make your project more savory! This font is Hot, hot, hot!

Take your typography to the next level with Super Sabretooth. A vigorous, rebellious brush font designed to bring the noise, start the fun, and leave any inhibitions at the door. It pushes lettering limits to the extreme and breaks down any boundaries on it's journey there. Super Sabretooth is packed full of great features & added extras, providing everything you need to create highly charged typography designs. Here's what this family consists of: Super Sabretooth • A high energy brush font containing upper & lowercase characters, numerals and a large range of punctuation. Super Sabretooth All Caps • This is a second version of Super Sabretooth, with all lowercase characters replaced with a brand new set of small-caps. Use this font as a larger & louder alternative to the regular version. Quick Tip! If you want more freedom, you can combine the two font sets together to create truly awesome customised typography, they will work in harmony as well as being strong standalone fonts. There are no rules with it - play around, mix it up, have fun, and enjoy the ride! Super Sabretooth Swashes • Still looking for even MORE features? Alrighty, check out this extra font containing 17 swashes and 9 paint splatters, designed to add the perfect finishing touch to underline & exaggerate your Super Sabretooth lettering. Simply type any a-z character in this font to generate the extras. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Turkish, Polish, Finnish, Romanian, Hungarian, Estonian, Filipino, Indonesian, Icelandic, Romansh, Welsh Thanks for checking it out, and remember: Push the Limits.

Conrad X. 'Cobb' Shinn (Sept. 4, 1887- Jan. 28, 1951) was a Fillmore, Indiana-born post card illustrator who sold a series of successful novelty postcard lines which included (among others) Charlie Chaplin, automobiles and the Dutch culture in the beginning years of the 20th Century. After serving in World War I, Shinn found the market for novelty postcards dwindling, and he also lent his artistic skills to cartoon features and illustrating many children's books [including his own, under the nickname 'Uncle Cobb'] which taught easy step-by-step drawing methods. Some time in the 1920s, he eventually migrated into the field of supplying electrotypes and stereotypes of 'stock cuts' of photos and line art to the printing trade. In the days of letterpress printing, this was the forerunner of paper clip art and its successor, electronic clip art. Purchasing many of his designs from 'journeyman' artists of the time, the diversity of Cobb Shinn's stock cuts library grew with the passing years, reflecting changing times, styles and topics. Some of the illustrators whose signed works were presented in Shinn's 'CUTalogs' [as he called his stock cuts catalogs] include Mary Clemmitt, Louis H. Hippe, E.C. Klinge, Nelson White, Harvey Fuller, Bess Livings, Lois Head, Harvey Peake and Van Tuyl. Upon his passing in 1951, it's not known how long the Indianapolis-based company existed before finally closing its doors. One of the more popular series of cartoons were the line illustrations of men and women affectionately called 'little big head guys' by many modern fans of these cuts because the heads of the characters were drawn somewhat larger than the rest of their bodies. Shinn Kickers JNL is a collection twenty-six of these illustrations, and just like a kick in the shin (as the pun in the name implies), these charming cartoons get your attention.

Introducing "Trace," a captivating display font that seamlessly marries the ancient mystique of Nordic symbols with a bold, futuristic modernity. This unique typeface transcends traditional boundaries, emerging as a striking fusion of historical symbolism and cutting-edge design. "Trace" is not merely a font; it's a visual journey that bridges the past and the future, offering a distinctive and versatile aesthetic. Inspired by Nordic symbols, "Trace" breathes new life into these ancient motifs, infusing them with a sleek and contemporary vibe. Each character carries the rich storytelling heritage of Nordic culture, interpreted through a lens of modern sophistication. The result is a font that is both timeless and forward-thinking, making it an ideal choice for those seeking a balance between tradition and innovation. As a display font, "Trace" commands attention with its bold and commanding presence. Its carefully crafted letterforms embody a sense of strength and purpose, while the subtle Nordic influences add an air of mystery and intrigue. Beyond its role as a traditional typeface, "Trace" transcends expectations by doubling as a symbol font. Unlock a treasure trove of symbolic possibilities, allowing you to weave intricate narratives or create visually stunning patterns that go beyond the constraints of traditional alphabets. Whether you're designing for futuristic branding, creating a visual language for a tech-forward project, or simply seeking a font that tells a story of cultural richness, "Trace" is your creative companion. Versatile and impactful, this font opens doors to a realm where ancient symbols and modern design converge, allowing you to explore uncharted territories in your creative endeavors. Embark on a design journey that spans centuries with "Trace. What you get, you will get: 1. Trace - Clean San serif font including Uppercase & Lowercase (ALL CAPS) characters, 2. Numbers and Punctuation 3. Support Multi language (Western Europe Latin)

The contemporary feel of the Sancoale superfamily takes a bolder turn with this futuristic slab. Built from Sancoale's successfully simple geometry, Slab's serif elements and tall x-height give the face an energetic, yet clean figure that easily complements its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Narrow; and, of course, the original Sancoale itself. The weights of each member have been balanced carefully to ensure compatibility with the others, and when used together, the combination creates a powerful design that is easy to identify. With weights ranging from the classier Thin to the authoritative Black, Slab opens the door to a range of applications. Used in different text sizes, its tech image is legible and neutral enough for longer bodies of copy--both in print and on the web. Have a more prominent need? The web font also stands out well in a headline or even as a display face. Slabís great personality puts a strong foot forward without giving its reader a kick in the teeth. Whatever the task, this font's one to capture the Zeitgeist into your work. All Insigne fonts are fully loaded with OpenType features. Sancoale Slab is also equipped for complex professional typography, including alternates with stems, small caps and plenty of alts, including "normalized" capitals and lowercase letters. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Included are small caps, fractions, old-style and lining numbers, scientific superior/inferior figures, complete ordinal and inferior alphabet, and a set of symbols and arrows. The Sancoale family also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Sancoale Slab supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging.

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

Prepare to be enchanted by the artistry of "Crispo," a font meticulously crafted through the delicate strokes of pointed pen calligraphy. In the world of typography, each character becomes a masterpiece, resonating with the eloquence of a brushstroke. Experience the Dynamic Elegance of Pointed Pen Mastery: Elegance with "Crispo" transcends mere quality; it embodies the essence of pointed pen calligraphy as a true masterpiece. The flowing lines and timeless grace of every character reflect the precision and artistry embedded in this refined craft. In the realm of fonts, "Crispo" emerges as a distinctive personality, each character meticulously handcrafted with a pointed pen. These letters aren't mere symbols; they roar with the passion and personality of a master calligrapher's ink, leaving an indelible mark on your creative endeavors. "Crispo" is more than a font; it's a genuine work of art inspired by the rich traditions of calligraphy. It serves as the embodiment of the pointed pen's craftsmanship, where each curve and ligature is shaped with meticulous care, inviting you to delve into the world of true artistic expression. The elegance within "Crispo" extends beyond appearances; it resides in the essence of each stroke. Every character, ligature, and swash is a testament to the beauty of pointed pen calligraphy, culminating in a font that stands unparalleled in its grace and sophistication. Whether you're crafting wedding invitations, establishing brand identities, or embarking on any project that craves distinction, "Crispo" unlocks the door to limitless creative expression. Courtesy of pointed pen calligraphy's mastery, this font becomes your brush, painting a story of elegance and distinction. "Crispo" is not just a font; it's a journey through the soul of pointed pen calligraphy. It encapsulates the brushstroke of a skilled hand, the dance of ink on paper, and the unwavering passion behind every character. Step into the enchanting world of "Crispo" and infuse your designs with the dynamic elegance and strong personality of pointed pen calligraphy.

When Aldo Novarese designed his “tipo inglese” Juliet typeface, he had a simple objective in mind: Reduce the inclination angle of the traditional 18th and 19th centuries English script in order to make the punchcutter’s job easier and the resulting metal type more durable. But when Juliet was released by Nebiolo in 1955, it was a big surprise to both typesetters and calligraphers all over Europe. Novarese’s idea of working the standard copperplate script within the limited technology of the time proved to be a marvel in optical metal sizing (Juliet was available in sizes ranging from 12 to 60 pt), but also opened the door to new calligraphic possibilities. Easier readability and a very friendly color were obvious side effects of the reduced angle. So soon after its release, calligraphers worldwide began emulating the angle reduction and experimenting with the application of the same concept to other calligraphic genres. Today, more than 50 years later, many professional calligraphers point to Novarese’s Juliet as an opening to fresh ideas and new directions in 20th century elegant calligraphy. Ambassador Script, this digital version of Aldo Novarese’s surprising masterpiece, is the result of more than a thousand hours of work. Going above and beyond its duty as a revival, it was expanded by a great number of alternates, swashes, beginning and ending forms, as well as accompanying flourishes and snap-on strokes for even more ending forms. Ambassador Script also supports almost every known Latin-based language, which makes its name all the more fitting. Ambassador Script is available in all popular font formats. The True Type and Postscript Type 1 versions come in 12 fonts, available in different piecemeal configurations or a full volume. The OpenType version collects more than 2300 characters in a single feature-rich font that can sing mightily in OpenType-supporting applications. Ambassador Script is ideal for weddings, invitations, greeting cards, book and magazine covers, or anywhere a touch of calligraphic elegance is desired.