Give your designs an authentic brush handcrafted feel. "Moriss Ward" is perfectly suited to signature, stationery, logo, typography quotes, magazine or book cover, website header, flyer, clothing, branding, packaging design and more. Thanks for use this font. Maulana Creative

Rummaging through the toolbox recently, I was surprised by how many allen keys I had from years of assembling flat-pack furniture. After some experimenting with the keys to make up individual letters I was struck by their graphic quality. The typeface is defined by the slim, right-angled shape of the allen key; creating a geometrical, yet playful font. The typeface is suitable for logos and feature headings.

Edgar No. 9 is an original design by Alex Kaczun. Edgar No. 9 is a derivative work based on his Big Boy typeface series. It was designed specifically for display headlines, logotype, branding and similar applications. Primarily a display, this extremely versatile font has generous proportions, large counters and loose fitting which also allow the font to work well across a wide range of text sizes. Edgar No. 9 is a heavy baroque slab serif and although it shares the underling skeleton of 'Big Boy', it is a much more compact in overall proportions and spacing. A handsome bold headline font that works well in text as well as display sizes—ideally suited for publications and advertising. Alex plans to expand the font series to include a large range of weights along with corresponding italics numbering 1 thru 9, as well as, true small capitals and old style figures. Distressed version(s) will also be available in upcoming releases. Stay tuned, more to come soon. The large Pro font character set supports most Central European and many Eastern European languages.variations to expand this 'hip' new font series. Groovin' baby.

AZ College Brushed font was inspired from a combination of typical collegiate t-shirts designs and also the current wave of A&F t-shirt designs (rough painted look). This font utilizes an "old look" to the line work which is designed to have a "worn feel" to it. It is designed to compliment it's sister font; AZ College. Ideal for use as headline or sub-head text in you design. Note: This font is somewhat detailed and is memory intensive. It is not recommended to use, unless you have a powerful computer.

College Dropout is hand sketched, organic and reminiscent of some of those less-than academic moments at school. Its ideal use is as a display font.

College Dropout is hand sketched, organic and reminiscent of some of those less-than academic moments at school. Its ideal use is as a display font.

Go, team, go! Fight, team, fight! Win, team, win! Here’s a family of typefaces based on typical athletic jersey lettering, in sans and serif styles, with inlines and an extrabold Letter Sweater treatment. Both versions of this font include the complete Unicode Latin 1252 and Central European 1250 character sets.

By the late 1920s, lettering and design had already begun to feel the influences of what would become the Art Deco Movement. The sheet music for the 1927 song "Without You Sweetheart" had its title hand lettered in a block style letter with rounded corners – with the exception of the 'S' and 'R' in "Sweetheart"; reflecting design elements of both styles. For consistency, those letters were changed to fit the rest of the design, and the result is the digital font College Nouveau JNL, available in both regular and oblique versions.

An original design by Malcolm Wooden inspired by the works of Morris Fuller Benton.

A snappy single-stroke alphabet from The New Lone Pine ABC of Showcard and Ticketwriting, which Aussie author C. Milnes suggested should be executed with a well-loaded brush, provided the inspiration for this loose, lilting retro script. Its condensed letterforms and tight spacing allow for larger headlines than most brush scripts, and its bouncing baseline adds an extra dollop of visual fun. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

This script font was inspired by the 1900s Art Nouveau style, in tribute to the well known American dancer Loïe Fuller. This font is specially developed for the OpenType possibilities. The TTF and OTF versions contain, besides all accented Western European Latin characters and ligatures, small caps, contextual alternates, more than seventy titling alternates, and others... It is used as variously as web-site titles, posters and fliers design or greeting cards, all various sorts of presentations, menus, certificates, letters. This font supports very strong enlargements as well as small sizes. When printed, it remain perfectly legible and elegant from 7 pts even if using an ordinary inkjet printer .

College Dropout is hand sketched, organic and reminiscent of some of those less-than academic moments at school. Its ideal use is as a display font.

College styles fonts are a "must have" for any designer just because of their really vast possibilities of uses. With our "Ultimate College Team" pack we're giving a whole range of "College style" fonts where you'll be able to select in any moment the perfect characteristic necessary for your next project. The pack includes 9 hand crafted fonts that capture these very emotions of team work and campus life. Our college fonts speak largely of sports activities, but also of those strong emotions that combines force, discipline, determination, confidence and that feeling to be “in the Team”. The "Hot Sports Elements" font, which consists of handy sports related graphic elements, is the last touch to reinforce and add meaning of a piece of text and create the best balance to your layout and it comes free when you buy the packs available!

Victory Type Studios is pleased to announce the release of MCM Hellenic Wide, the first typeface from the upcoming Mid-Century Modern Collection--a set of vintage American typefaces rescued from the dustbin of history and rendered for digital use. You've seen it before. But it’s been a while... MCM Hellenic Wide is an extended slab-serif typeface that was painted on railroad cars and stamped on posters; it was found in textbooks and once proudly graced letterheads. MCM Hellenic Wide lacks frills and flourishes. Its trademark single-thickness alphabet features broad and squared-off serifs. Now that retro is en vogue, do yourself a favor and download MCM Hellenic Wide today. This digital revival of a once pervasive unappreciated typeface was rendered from scans of primary source material. MCM Hellenic Wide will add a bit of classy Americana to your next design. MCM Hellenic Wide is available for Mac and PC, in TrueType, OpenType and PostScript formats. Includes kerning.

Collins Butter is a display sans font. Comes with 2 fonts family, solid and hollow. Great for logotype, branding, packaging design, poster design, website / display, editorial, headline, and more. Whats Include? Uppercase and lowercase characters Supports international languages Opentype features: alternates and ligatures. Accessible in the Adobe Illustrator Glyphs panel, or under Stylistic Alternates in the Adobe Photoshop OpenType menu, Adobe InDesign, Corel Draw, even work on Microsoft Word

The hand lettered credits for the 1940 horror film “The Invisible Woman” look more like they would show up in a movie about a college football game. A bold, condensed slab serif type design, it’s perfect for many sports-themed graphics projects. The digital version has been aptly named College Game JNL, and is available in both regular and oblique versions.

College Dropout is hand sketched, organic and reminiscent of some of those less-than academic moments at school. Its ideal use is as a display font.

The story of Scripps College Old Style is a heart-warming and inspiring chronicle about a young librarian, a handful of students, a wealthy grandmother, a dedicated educator -- and two eminent American type designers. The story begins in 1938, when Dorothy Drake, the newly hired librarian at Scripps College, a small women's college in southern California, became an impromptu dinner companion of the American type designer Fred Goudy. By the 1990s, the original fonts that Goudy had created for Scripps College in the 1940s had become prized -- but they were seldom-used antiques. Scripps needed digital versions of the metal fonts. This goal posed two immediate challenges: finding a designer familiar with letterpress printing who was skilled at creating digital fonts, and locating the money to commission the designer's services. The first challenge was the easiest to conquer. Sumner Stone was my first and only choice," recalls Kitty Maryatt, the current curator of the Scripps College Press. "I knew he had letterpress experience, was an accomplished calligrapher, and that his typeface designs were simply exquisite. The choice was easy."The second challenge was more difficult. It took the dedication, hard work and tenacity of Maryatt to bring the beautiful Goudy designs into the twenty-first century. While Stone was eager to begin work on the project, the college had no more money for new typeface designs in the 1990s than it did in the1930s. Years of lobbying, cajoling and letter writing were necessary to obtain the college's approval for the design project. Once she had the necessary funding, the design brief posed yet a third challenge. Goudy had provided two sizes of type to the Press: 14 point and 16 point. Which would serve as the foundation for Stone's work? In addition, the Goudy fonts were quite worn. Should Stone use printed samples as his design master, or base his work on the original Goudy renderings? The 14-point master drawings were the ultimate choice, with the stipulation that the finished fonts would provide both a seamless transition from the worn metal versions and a faithful representation of the original Goudy designs. Once the budget and design brief were established, the process of converting the original Goudy drawings into digital fonts took just a little over two months. Stone delivered finished products to Scripps in the fall of 1997. The first official use of the fonts was to set an announcement for a lecture by Stone at Scripps in February of 1998. But the story is not quite finished. Maryatt was so pleased with the new digital fonts, she wanted to share them with the graphic design community. At Stone's suggestion, she contacted Monotype Imaging with the hope that the company would add the new designs to its library. An easy decision! Now Monotype Imaging is part of the story. We are proud to announce the release of Scripps College Old Style as a Monotype Classic font. The once exclusive font of metal type is now available in digital form for designers around the world. "

Please Note: as this is a picture-only font, there are no latin alpha/numeric glyphs. Each wood type manufacturer had their own selection of original Logotypes or Catchwords designs. These are taken right from the original source material, an extremely rare 1910 catalog of an English wood type maker called Day & Collins in London. As the name says it, these words are intended to attract attention, to spice up posters, packaging or advertisement designs. I made these available for the digital age, leaving the original texture of printed wood type at the highest detail possible.

Ornaments 6 are based on designs for the Curwen Press by Edward Bawden and Percy Smith.

This font set is based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art. Both artists kept a record of Edward's paintings in a series of journals, which provide the basis for this set. Unlike font sets which feature two similar handwriting samples of one artist, the Edward Hopper font set presents two distinct handwriting styles. The Edward Hopper font is typically masculine, with its sharp angularity, while the Josephine Hopper font presents an interesting contrast, given its elegant, rounded shape, with significantly more flourish. The extras, culled from the aforementioned journals, feature 52 Hopper sketches, which run the gamut from landscapes to nude studies.

English Monarchs is a unique font collection with accurate digital replicas of 84 signatures of English and British monarchs from Richard II through Elizabeth II, including many of the royal consorts. Also included in this font are the Stuart pretenders and Mary Queen of Scots and her consort. A must-have for autograph collectors, desktop publishers, history buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous nobles. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map. This font includes signatures from the following noble figures: Richard II, Henry IV, Henry V, Henry VI, Margaret of Anjou, Edward IV, Elizabeth Woodville, Edward V, Richard III, Henry VII, Elizabeth of York, Henry VIII, Catherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, Catherine Howard, Catherine Parr, Edward VI, Lady Jane Grey, Mary I Tudor, Elizabeth I, James I, Charles I, Henrietta Maria of France, Oliver Cromwell, Richard Cromwell, Charles II, Catherine of Braganza, James II, William III, Mary II, Anne, Prince George of Denmark, George I, George II, George III, George IV, William IV, Victoria, Prince Albert, Edward VII, George V, Edward VIII, Wallis Warfield Simpson, George VI, Elizabeth II, Prince Philip, Prince Charles, Princess Diana, Camilla Duchess of Cornwall, Prince James Edward Stuart, Prince Charles Edward Stuart, Mary Queen of Scots, Henry Stuart Darnley, Francis II of France.

Based on the magical writing system originated by Dr. John Dee and Edward Kelly in Elizabethan England.

German type designer Joachim Müller-Lancé created this sans FontFont in 1997. The family contains 3 weights and is ideally suited for advertising and packaging and sports. FF Lancé provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures. In 1993, FF Lancé received the Morisawa award.