Raiken - Serif font family - 8 Styles - Multilingual supports Raiken is a stylistic and powerful serif font family with different alternative type designs. You will have the opportunity to enrich the content of your projects with alternative characters. This font comes with multi-language support and 8 styles. It has an elegant structure that can be effective in the development of your projects. According to the purpose of use in typographic compositions that you will create with the aesthetic structure of alternative characters; You can enrich your titles in books or magazines, and your logos in branding. You can take advantage of the elegant structure of standard characters in your plain texts. It provides flexibility in all your projects with the alternatives it offers you with its multi-language option, 8 styles and 441 glyphs. Especially for editorials, magazines, books, branding, logo design, web design, headlines, movie titles etc. If you are looking for a font with stylistic alternatives, Raiken serif font can meet your needs. With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

White Xmas is a beautiful Christmas script typeface. This seasonal family is the ultimate set of decorative Christmas fonts, consisting of no less than 15 styles: Star, Snowflake, Plain, Clean, Swash, Background, and more. Use White Xmas as-is for your New Year's headlines or winter products, or as a layered color font to make the snow and stars shine in a brilliant white. The vast selection of styles makes for infinite decorative possibilities. Use symbols * + # for stars and snowflakes. Use underscore _ anywhere in a word to make a swash. Example: Sea_son Use multiple underscores for different swashes. Example: Christ_______mas (Download required.) Also includes a Color Font, for Photoshop and Illustrator! The two variations are colored in Red and Blue, both decorated with white snow. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Diaconia Old Style is a new rendition of my workhorse body copy font that I originally designed to use for the body copy of "Printing in a Digital World." I became increasingly upset with the lack of lowercase numbers and true small caps. Diaconia started life as a modification of one of the Dutch Bible fonts I traced. It has changed a lot since then (although I have a hard time telling how much because I have lost the original). The plain and italic work especially well when used in very large sizes as display faces. The other four variants (small caps, heavy, heavy italic, and black) are designed for use in book production. Because I format all my own books, I was able to design fonts that met my needs exactly: lowercase numbers, SMALL CAPS font, Mac Command, Option, and Control symbols, ballot box in the section slot, and several other special characters. DiaconiaPro is the OpenType family of my body copy workhorse. This is the first font family I ever created: classic, elegant, easy to read. 583 characters: small caps, oldstyle figures, numerators, denominators, lining figures, accents and a lot more.

Vincent Pacella was a true giant of hand-lettering and typeface design. Of the dozens of styles he designed for Photo-Lettering and International Typeface Corporation, his dominant Goliath towers above the rest. The font is perhaps best known from Herb Lubalin’s American flag that the design legend created for Print magazine’s 40th anniversary cover. Pacella takes “slab” serif to heart with this colossally-proportioned font, using brawny stroke endings and minimal curves to create a powerful figure for maximum visual impact. Take advantage of Goliath’s superior stature to make viewers take notice in industrial settings, sports branding, and oversized outdoor media applications. For comparatively modest musings in accompanying running text, consider partnering it with a comparatively spartan slab serif like Municipal. Or, team up Goliath with a faceted fellow heavyweight like United Sans. Originally drawn in 1970, Goliath was digitized by Ben Kiel with Adam Cruz in 2011. GOLIATH CREDITS: Typeface Design: Vincent Pacella Typeface Digitization: Ben Kiel, Adam Cruz Typeface Production: Ben Kiel Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

A comprehensive set of initials (usually referred to as Uncials, Lombardic Initials, or Lombards) of the Germanic variety, designed after Henric Pieterszoon’s “Gothise Monnikke Letteren” as appearing in Enschedé, J. (1768), Proef van Letteren, Haarlem (p. 120); also mentioned as “Great Primer Uncials” and "2-line Brevier Uncials" in Vervliet, H.D.L. (1968), Sixteenth-Century Printing Types of the Low Countries, Amsterdam: Hertzberger (pp. 54-55, and 212-213). The font contains over one hundred glyphs, including as a bonus six layered plus two plain ornamental initials adapted from the Gutenberg Bible (Mainz, ca. 1455) and the Mainz Psalter (Mainz, 1457). Suitable to accompany most Gothic (especially Textura and Rotunda) typefaces, or to be displayed as drop caps or in full titles and headings. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Initials “Gothic C” Font Page. Note: Several uncial initials in The Oldtype “Psalterium” Font have been derived from corresponding characters in The Initials “Gothic C” Font, adjusting them to cope with the special (large) x-height and letter spacing of the Psalterium font (so the two sets of initials are not directly interchangeable).

Inspired by the old Stephenson Blake Caps only font Algerian from 1908, this version, named Algerian Mesa, has been freshened up with a new matching lowercase. The original Algerian, on page 142 of the 1908 Stephenson Blake specimen book, was a small caps to a more decorative lining caps and the plain black version, without the shadow line, was named Gloria. Also on page 142 of the 1908 Stephenson Blake specimen book is a shaded Latin font that gave me the idea for the Alt version of Algerian Mesa. The Alt version works well at smaller point sizes combined with the regular Algerian Mesa font on the same page. New for 2016 were Opentype features including original alternates, oldstyle numerals and case sensitive forms, also new is a fully usable Alt version. New for 2022 are the higher x-height, 90% small caps, 80% small caps and all new italic versions. Also new for 2022 are straight sided accent marks replacing the flared or curved accents. While Algerian Mesa includes some alternates our related Tavern font will still remain the version with more alternates and more weights.

Mundane information—the sort you might ignore—often appears in the form of very simple, utilitarian lettering, devoid of personality, the sort of industrial lettering you find on old blueprints, park restrooms, and electrical boxes. MVB Diazo is such a thing. It looks like lettering done earnestly with a plastic template. The monoline caps—constructed from straight lines and simple curves—have rounded details as if rendered by a blunt pen on a topographical survey or by a router on a rustic campground sign. The MVB Diazo fonts are compact, available in two widths: Condensed and Extra Condensed. Each width offers four weights from Light to Black. The fonts are perfect for wherever plain and boring letterforms are required. All widths and weights are also available in two distressed textures (#1 and #2) that accentuate the industrial character of the design. Rough #1 is gritty, with finer texture for use at larger sizes. Rough #2 exhibits more damage, the roughness apparent when used at smaller sizes. The Rough fonts include alternates of a number of glyphs so that variation of texture is possible when letters repeat in a word.

Velo leads layouts with a grand tour champion’s panache but is also a hard-working design domestique for text-heavy applications. Superelliptical shapes and sturdy serifs will keep pace with contemporary culture with an aesthetic agility that will never go out of style. Velo Serif includes sixteen fonts: Twelve display styles ranging from thin to black with complementary italics and four text styles designed for longer settings. Velo Serif Display features an increased x-height for more illustrative headlines while Velo Serif Text maintains a readable cadence in high word count environments. Designed by House Industries, Christian Schwartz, Mitja Miklavčič and Ben Kiel. FEATURES Text vs Display: Velo Text maintains the distinctive style of its Display siblings, but is enhanced for optimum legibility in running text settings. Key ligature combinations keep headlines and running text flowing smoothly. Velo Serif Text includes a complete small cap alphabet to add another typographic dimension to your layouts. Select Velo Serif figures include illustrative alternates to display numerical superiority. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Crafted in the best tradition of the geometric sans-serif, Rondana is a typographic tribute to the the retro-futuristic aesthetics of the 1960s and 70s, as well as an exercise in purity of line. However, its spirit is decidedly non-bauhausian, since its strokes intentionally deviate from the dull, obvious, ruler-and-compass construction; its arcs and curves being much more complex, tending towards a slightly square shape, imbued with subtle modulations. This sums up to a more organic, flowing, extroverted personality than the one just expected from the use of plain, simple geometry. Another feature is the conscious use of non-standard shapes for many signs, that are quite legible but somewhat unexpected, such as the E, the g and the ampersand; making Rondana an excellent display face and also giving a particular flavor to the text composed in it, especially in its italic variants —which are, by the way, designer italics in their own right and not just an oblique version of the roman. Rondana comes in twelve variants comprising a wide spectrum of weights, allowing for an extremely diverse range of expression.

Old Thunder is a revival of an 1800’s Tuscan style font called Lavinia, we've expanded the original font to include a lowercase, an Open faced version, a very attractive Black face and last this set just wouldn't be complete without a Fill font. When you see the word Fill in a fonts name this describes its purpose which means the font is intended to be used for filling in the open space of its parent font or the Open faced shadowed version from that font family or group. Some Fill fonts look as if they may be used as stand alone fonts but others simply do not look good used as a plain font. The Fill font for Old Thunder was designed to work as both a fill and a regular font, although when used as a regular font the letter spacing will appear a little wide. If needed the spacing can be adjusted in some applications font settings, check the help file in your application for further information on spacing. You will need an application that allows layering of your fonts in order to take advantage of FontMesa Fill fonts.

Introducing Moderately, a chunky and friendly typeface that makes a bold statement. This high-impact font is specifically crafted for designers seeking a display typeface with presence, perfect for applications where large, expressive type is a must. The defining features of Moderately include a generous x-height, soft curves, and tight spacing, ensuring a punchy and fresh aesthetic. Moderately is a deliberate departure from your contemporary sans with nary a straight line to see, embracing the organic and dynamic qualities reminiscent of blocky Art Nouveau typefaces, notably inspired by the works of Alfred Roller. While drawing influence from psychedelic / Art Nouveau revival typefaces of the 1960s, Moderately strikes a contemporary balance, delivering a design that is both impactful and approachable. Each glyph in Moderately attempts to maximize its space within the em square, incorporating slim carve outs for counters and apertures. The name "Moderately" adds a touch of irony, as this typeface is anything but plain – it exudes affable confidence and subtle flair. Created with versatility in mind, Moderately offers broad support for Latin-based languages, ensuring its adaptability for a wide range of creative projects.

The typeface Rough Stamp Times is designed from 2016–2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on the original rubber stamps from flea market. The font started from 50+ stamps (analog) and was finally digitalize and extended to 600+ glyphs (digital). 4 font-styles (Rough, Clean, Misprint, Impact) with 601 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (9 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Rough Stamp Times ■ Font Styles: 4 (Rough, Clean, Misprint, Impact) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 601 glyphs incl. extras like icons (decorative extras like arrows, dingbats, emojis, symbols) ■ Design Date: 2016–2022 ■ Type Desi­gner: Manuel Viergutz

Early in the 19th century, foundries began releasing a variety of decorated ornamental letters based on the Tuscan letterform. Fancy Tuscan letters quickly became so popular, they eventually came to represent the cluttered extremes of Victorian design. Foundries competed with each other to produce most extravagantly decorated letterforms. As often happens, success turned to excess. What is often overlooked is the long history of the Tuscan style. Early examples have been traced back to ancient Rome. Indeed, the characteristic bifurcation may have represented a fishtail to the early Christians, thus sharing in the roll of symbolic identification played by the simple drawing of a fish as a whole. Later. trifurcation was developed as an alternate termination, followed by loops, full fishtails, curls, hooks and other fancy variations. Nicolete Gray provides an extensive history in her Appendix One of NINETEENTH CENTURY ORNAMENTED TYPEFACES. According to Gray, the first metal typeface based on the Tuscan form was the Ornamented of 1817 by Vincent Figgins of London. Thorowgood followed suit in 1821, Fry in 1824 and Caslon in 1830. Each was to re-visit the form many times during the Victorian era. Here we present our interpretation of what Figgins might have produced in a basic, plain Tuscan form - free of the decorative additions. We are pretty safe here because Figgins was very creative. He explored many of the terminal variations listed above and combined them with different decorative devices to produce a constant stream of new faces to meet the demands of the marketplace. Figgins Tuscan ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also a few glyphs for Anglo-Saxon, Gaelic and Old Gaelic. Total of 355 glyphs. 2. Added OpenType GSUB layout features: aalt, ornm and liga ˜ with total 34 lookups. 3. Added 351 kerning pairs. 4. Redesigned several glyphs: the comma, quotes, brackets, braces, acute accent, and grave accent. 5. Revised vertical metrics for improved cross-platform line spacing. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Hey folks! Glad to introduce you a new MINORICA handwritten collection to imitate a hand lettering style! A complete font kit with graphics give you a fantastic result. A roughen pencil written letters with the same rustic shapes and decorate doodle elements looks very authentically! Play with styles, use the stroke style with inlines, or just a regular. You'll get: Bouncing baseline spooky serif with all caps letters, stroke style and inline decoration Handwritten textured and roughen brush script Bold playful sans with inline and stroke styles. Decoration font with text shapes and doodle elements decoration. A helpful kit to create a funny stuff as greeting cards, t-shirts, advertisement content, cafe or coffee shop decoration, book covers etc. Thank you and Enjoy! VVDS

Garetra Serif s a sophisticated serif with many weight you can choose. It has 4 weight styles which you can play around to match your project, whether for a standout headline, or for a tagline, you name it. Perfect to be applied to the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual alternates & ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/

Introducing, The Amberton - A classic script typeface. This font has unique swashes, inspired by classic floral ornaments. Another thing that make this font even more unique is this font has total 290 alternates which you can play around and creates beautiful lettering in a sec. Perfect to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual swash and ligature alternates PUA encoded 290 alternates We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.