Cinemas from the early 20th century are called “Lichtspiele” in Germany. “Lichtspiele” transports you back to a time where neon lights and marquee letters decorated cinema façades. Of the five styles, three have two versions of italics — the left-leaning italic evokes looking up from lower-left, the right-leaning italic is as if we are looking from lower-right. Display is the basic style, while Neon is inspired by the old neon letters found outside cinemas. Try placing Neon Outline on top of Display or Neon to add another layer to your artwork. Neon 3D is a extruded version of Neon. The Screen Credits style is based on the notes — producers, cast, crew and so on — on movie posters. Get more out of life, go out to a movie.

How To Consume Oxygen was created with the plan of emulating words written on a fluted-steel 'warehouse'-type door in advanced state of rusting.

Stitka is a chic, refined script font that emanates sophistication and elegance. Its stylish and ligatures make this font the perfect match for any project.

ReneFont is strong, heavy design which looks quite technical. Originally planned as a caps-only, Breil changed his mind and also drew the lower case alphabet.

Southeast is a chic, paint brushed script font that emanates sophistication and elegance. Its stylish alternates and ligatures make this font the perfect match for any project.

Golden Bloom is a chic, refined script font that emanates sophistication and elegance. Its stylish alternates and ligatures make this font the perfect match for any project.

Oswald Cooper is best known for his emblematic Cooper Black™ typeface. Although he was responsible for several other fonts of roman design, Cooper never drew a sans serif typeface. But that didn’t stop George Ryan from creating one. Ryan saw a sans serif example of Cooper’s lettering in an old book and decided that it deserved to be made into a typeface. Ryan’s initial plan was to make a single-weight typeface that closely matched the slender and condensed proportions of the original lettering. While the resulting Oz Handicraft™ typeface proved to be very popular, Ryan was not satisfied with the limited offering. So, between other projects – and over many years – Ryan worked on expanding the design’s range. The completed family includes light, semi bold and bold weights to complement the original design, plus a matching suite of four “wide” designs, which are closer to normal proportions. Fonts of Oz Handicraft include a Pan-European character set that supports most Central European and many Eastern European languages.