FG Lina was inspired by an old handwritten book I found in the library. It contains some alternate caps characters and some rough lowercase characters. I had lots of fun designing the missing characters to fit in the script. I hope you will enjoy this Quill Script font!

Oak Ridge JNL gives a Westernized treatment to Flivver JNL; which in turn is a serif derivative of Two Reeler JNL. Although all three fonts come from the same root source—inter-title cards from an old Charlie Chaplin movie, they each take on a personality of their own.

Greater Albion always releases a Black letter each year, hopefully well before the Christmas seas (which we seem to have managed this year - September). There is something about this year's project which suggests a caste portcullis to us. Why not visit ye olde world in your next designer project?

Bygone is an elegant brush font - well, insofar a brush font can actually be elegant that is… It is an all caps typeface, completely handmade using Chinese ink and a rather expensive brush. Use it for posters, book covers and packaging. Comes with an old-fashioned amount of diacritics.

Red Dog Saloon is an old classic western looking type font and one that never goes out of style. A fill font is included with this font, you will need an application that works in layers in order to use the fill fonts that come with FontMesa fonts.

Justus Erich Walbaum was a German punchcutter who worked in Weimar around 1800. He produced both serif and blackletter typefaces. Walbaum Fraktur" is based on his famous blackletter-style type (called Fraktur in German). Walbaum Fraktur is an excellent font for anything old-fashioned, Northern European, or typographically quirky."

Evening Initials JNL are based on a few random examples of some unusual Art Deco initials found within the pages of an old Dover clip art book. A complete set of letters was redrawn from scratch and are offered for your creative endeavors as a digital type font.

Quantico is an angular typeface family that was inspired by old beer packaging and military lettering. It utilizes 30 degree angles and completely straight lines to form unique character shapes. Equally at home in text or display settings, Quantico includes 3 alternate characters as well as several ligatures.

A typeface named, simply, Geometric, from the 1885 Cleveland Type Foundry specimen book, has been beefed up a bit and softened with round serifs to create this everything-old-is-new-again gem. Both versions of this font include the complete Latin 1252 and Central European 1250 character sets.

P22 Allyson is based on an old metal font by Barnhart Bros. & Spindler named Hazel Script. This font is perfect for elegant invitations and certificates and has been expanded to meet the needs of today's computer user to include a full character set. Allyson Pro contains OpenType features.

Put together from a collection of old bits and pieces, RM Scrapheap is a distinctive display face with many uses. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

Bethencourt is a font family designed by Vsevolod Buravchenko & Viktor Kharyk with technical support by Konstantin Golovchenko. It is based on uncial, half-uncial, Old Roman Cursive and New Roman Cursive. The character set includes Latin Extended characters, stylized Cyrillic and decorative elements in the form of playing dolphins.

Darkstone is a hybrid blackletter display font which combines features of the fraktur and old english. The level of detail in the glyph drawings enables the users to exploit the pure form of the letters in big sizes. Darkstone is great for labels, mastheads, branding, advertising, posters, etc.

Cirque is a lively Western/Circus/Victorian/Whatever font—it'll fit in wherever you want to stick it to old Tschichold and make something cool instead. Mix up caps and lower case for curious results. To see more check out the Frost Foundry page at http://facebook.com/frostfoundry

Grist Mill JNL was modeled from an old wood type design and has all of the wonderful quirks that made wood type so appealing for many projects. There is minimal kerning because of the unique letter shapes, so you may wish to adjust your layout to fit your needs.

KISH is a super quirky display type with reverse contrast. Imagine if the old west and the 70s had a lovechild with a sense of humor; now imagine that that child was a display font. That's KISH. It's the perfect typeface for adding sophisticated playfulness to any design project.

Stereohead is a retro sans serif display typeface inspired by old eighties video cassette cover designs. This font would work perfectly in magazine headlines, t-shirt design, posters, packaging, advertising purposes. Uppercase and lowercase characters, numbers, punctuation and extended latin characters included. 2 font styles available, regular and italic.

Inspired by old surfer movie posters from the 60'ies. Surfing Ashtray consists of straight lines only - ironically the direct opposite of the ocean waves that was a part of the inspiration of this font! Hit the waves with extra ligatures for double letters, swashes and alternate letters.

Ebura is a funny and fashionable sansserif (or semi-serif?) type. Extended Latin, extended figures and SmallCaps are supported in OpenType. OpenType features: Ebura contains 740 Glyhps Standard Ligatures Discretionary Ligatures Denominators Ordinals Scientific Features Superscript Slashed Zero Small Capitals Old Style & Lining Figures Proportional Numerals & Tabular Figures

It was our initial intention to develop a suitable lowercase for Les Usherwood's Elston typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin). However, the new design quickly took on a life of its own, and we decided to call it ‘Creighton’.

This typeface gets its inspiration from a face designed by Vincent Pacella for PLINC named Bingham, and is evocative of steam locomotives and the Old West. Both versions of this font include the Unicode Latin 1252 and 1250 Central European character sets, with localization for Moldovan and Romanian.

Here's a faithful rendering of an old face from the James Conner's Sons specimen catalog of 1888, alternately known as Aetna or Painter's Gothic. Its compact descenders allow for tightly-spaced headlines. Both versions of the font contain the complete Unicode Latin 1252 and Central European 1250 character sets.

Neo Paralletter is a geometric modern blackletter typeface. Neo Paralletter is a combination the boundaries between old and new, tradition and contemporary, that is an art form combines calligraphy, typography, and graffiti. You can use it as a logo, badge, packaging, headline, poster, t-shirt/apparel and wedding invitation.

Introducing Black Aroug, crafted to capture the essence of design from the 1890s. Inspired by the ornate aesthetics and artistic intricacies of the period, this typeface combines the elegance of Victorian-era typography with a touch of modern refinement, creating a unique blend of old-world charm and contemporary

Seaglass is decorative, feminine, and strong. Its whimsical curls and handmade form make a crafty statement in all-caps, and its expressive lower case invites in young and old alike - not unlike the gems found on secluded beaches. Let Seaglass transform your next packaging, poster, or book project.

Bingo Player JNL is a thorough reworking of Jeff Levine's old freeware font - cleanly redrawn with fresh glyphs and a set of "alphabet balls" for creating short headlines. To match the fonts in these dingbats for other text applications, use Shopkeeper JNL, Trade Journal Wide JNL and Market JNL.

AZ Dude font was inspired from many miscellaneous hand written slogans on a school text book covers. This font utilizes an "old look" to the line work which is designed to have a "worn feel" to it. Ideal for use as headline or sub-head text in you design.

Rumbler is a typeface inspired by old school car lettering, while trying to push it in a unique direction. Reflecting the limitations and constraints of shaped metal, the letter forms twist and contort to create a readable font that can evoke motion and speed, strength, and a retro feel.

Typemonger JNL is based on Two Line Sans Serif from the British type specimen book of Vincent Figgins (circa 1860), and is available in both regular and oblique versions. The word ‘monger’ is an old term for a merchant specializing in a certain commodity (such as printing type).

Faustian is a modern study and different take on classic historical black letter styles, geometric in its construction, giving a very modern clean look whilst its historical influences shine through. coming in 3 weights with a host of opentype features including old style figure, alternate characters and more

A mono-weight, bifurcated serif typeface in all caps. Based off of an old classic French biscuit logo. This distinctive vintage display typeface can also evoke edgier sentiments when set in a moodier context, as well as making for a playful option when set in a soft colour palette.

Florencia flows with the spirit and excitement of a beautiful dancer. Its extended and flowing letterforms are designed to glide across the page. This contemporary script is perfect for any project that calls for a spicy, exotic feel. Florencia includes OpenType swash alternates, old style figures and ligatures.

Sales Event JNL is an inline sans that was modeled from examples of old wood type. Its casual, cheerful style well suits point-of-sale signage or banners, fun headlines and relaxed themes. The font is available in both the regular inline version and the black (solid) version.

A few bold caps drawn by Albert Du Bois for the 1906 Henderson Sign Painter book started me in the direction of looking at how sign painters approached slabs after the industrial revolution. The usual happened from there. My exercise in the early lettering roots of what eventually became the definition of geometric typography ended up having a life of its own. The majuscules led to minuscules, one idiosyncratic bold weight led to six more, and uprights led to italics. What was kind-of-interesting in the early twentieth century persuaded me to make it interesting enough a century later. This of course meant alternates, swashes, the standard baggage that keeps calling my name. Henderson Slab is a family of seven weights plus italics, all full of open features and extended Latin language support. Part of this family’s appeal is its coverage of nearly the entire of the slab serif through the last 100 years — the basis is the manual, humanist origins, the swashed forms come right out of the phototypesetting era, and the alternates and mostly modern constructs of contemporary ideas. The result is a set with the ability to function in modern spaces, from corporate to editorial, in text or display, while both winking and nodding at the roots of what is now considered a geometric endeavor. (Basic version do not include alternates, swashes, etc).

Boston Skyline is a carefully hand-crafted duo of premium Sans & Script fonts, designed to create a bold, authentic, and timeless lettering combination. The contrasting yet complimentary strong sans and free-flowing script lend themselves perfectly as primary and secondary fonts for logo designs, product packaging, eye catching quotes and display text. Here’s what’s included in this product: Boston Skyline Rough • A hand drawn script font with authentic textures built-in. Contains upper & lowercase characters, all punctuation and numerals. Boston Skyline Rough Alt • This is a second version of Boston Skyline Rough, with a completely new set of upper & lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Boston Skyline Sans Rough • A bold Sans font with a built-in rough 'letterpress' texture. Contains uppercase characters, all punctuation and numerals. Boston Skyline Swashes • This font contains 26 swashes, perfect for underlining your script text and adding some extra custom flair. Simply install this font separately and type any a-z character when using this font to generate a swash. Clean Versions • Are included for all fonts with textures completely removed and edges smoothed. Language Support; All fonts support English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Turkish, Slovenian

I am First Contact, a super ultra condensed all caps font with support for over 90 languages and over 540 ligatures. I am a cutting-edge font that is both cool and chic, yet still personal. I am perfect for a wide range of design projects, from logos and branding to headlines and posters. I am the future of your typography. I am the font that will take your designs to the next level. I am bold, I am confident, and I am here to make a statement. I am not like other fonts. I am not afraid to be different. I am unapologetically myself. I am First Contact, and I am here to shake things up. I am the perfect font for anyone who wants to stand out from the crowd. I am the font for the bold, the brave, and the innovative. I am First Contact, and I am the font for the cool kids. I am the font for the trendsetters. I am the font for the people who want to be ahead of the curve. I am First Contact, and I am here to help you create something truly unique. I am more than just a font. I am a movement. I am a call to action. I am a challenge to be different. So what are you waiting for? Use me today!

San Giuseppe is a serif font with finesse and unique charm. Inspired by the romantic, ornate style of the Victorian era and the bold, captivating geometry of Art Deco, San Giuseppe is the perfect blend of neo-classic and vintage aesthetics. This serif font family is designed to infuse your work with an air of grace and refinement that is sure to leave a lasting impression. Ideal for wine labels, luxury branding and high-end packaging, San Giuseppe is an all-capitals font, featuring a stunning array of alternate characters that allow you to create a truly bespoke typographical experience. With its fine, intricate serifs and delicate, artistic letterforms, this font is a testament to the beauty and craftsmanship of yesteryear, created for a modern setting. The San Giuseppe font family consists of six high-quality styles: In addition to the Regular font, it is provided in both Bold and Light, and each of the weights as Italic. 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 Northern 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.

Introducing Raqib, a distinctive and eye-catching font that gives any project a robotic, sci-fi edge. Raqib is ideal for creating futuristic and intriguing designs due to its bold font shape and distinctive robot style. Raqib is the ideal option if you’re working on a project with a sci-fi theme or want to incorporate robotics into your branding. Because of its bold design, it’s perfect for headlines, posters, and social media graphics, and its distinctive font shapes give your text a standout, memorable appearance. For those looking to stand out in the modern era and add a touch of innovation and futurism to their designs, the Raqib font is ideal. This font is a must-have for anyone looking to create designs that really stand out. Don’t miss this limited-time offer, get the unique and versatile Raqib font today and start creating designs that will be remembered. With Raqib, you can create stylish and professional designs, with a futuristic robotic look that’s sure to stand out. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Mastadoni is a bold headliner/masthead typeface, with high vertical contrast in a Didone style. That's the starting point at least. There's much more to this font than another modern clone. It is a specialized (only one weight) typeface that comes in five optical grades. Use G1 at very large sizes and G5 at smaller sizes. The grades can be combined so that the thins of type set at different point sizes appear the same thickness - a very useful feature for magazine layouts. Optical grades could also be used in circumstances where a logo needs to be size-specific; the text on your bistro sign can afford to be more delicate than that on your coffee cups. This is a typeface with a big x-height, small cap-height and stubby ascenders and descenders, which contribute to an overall appearance somewhat different from must Didones, and make for some interesting layout possibilities in tight spaces. Mastadoni features a number of useful OpenType features. All fonts include standard ligatures and automatic fractions. In the discretionary ligature feature, you'll find the esoteric "percent off" glyph. Just type '%ff' with dlig engaged and there it is! Case-sensitive forms are available in all the fonts. The contextual alternates feature performs a subtle trick that resolves an optical illusion whereby two ascenders next to each other appear to be different heights. The Roman and Italic styles have a different group of stylistic sets as follows: Roman: SS01 substitutes a less decorative 4; SS02 is a different eszett; SS03 substitues the # with an attractive numero glyph; and SS04 gives an alternate K. Italic: SS01 and SS03 are the same as in the Romans; SS02 gives you more bulbous variants of v, w, and y letters; SS04 is a single storey g; SS05 changes C, G and S to non-ball-terminal varieties; and SS06 changes the swash versions of E, L, N and Q (when the swash feature is engaged). Speaking of the swash feature, the italic fonts feature swash capitals from A to Z, and swash variations for lower case h k m n v w and z. Lastly, the discretionary ligature feature in the italic fonts has vi, wi, KA and RA ligatures. Mastadoni is a typeface that would find itself immediately at home in glossy magazines, while offering a different aesthetic palette from the more standard choices of Didones.

MOTORWAY is the companion typeface to TRANSPORT, the British road sign lettering. The Motorway alphabet was created for the route numbers on motorway signage, and is taller and narrower than the accompanying place names and distances which are printed in Transport. However, for Motorway Jock Kinneir and Margaret Calvert created only the numbers 0 to 9, the capitals A, B, E, M, N, S and W, ampersand, slash, parentheses and a comma. So, although the lettering made its first appearance on the Preston bypass in 1958, K-Type Motorway is the first complete typeface and contains all upper and lower case letters, plus a full complement of punctuation, symbols and Latin Extended-A accented characters. As with the Transport alphabet the starting point was Akzidenz Grotesk, Motorway taking inspiration from condensed versions. Changes were mainly driven by a quest for legibility, resulting in some reduced contrast between horizontal and vertical strokes, and Gill-esque straight diagonal limbs on the 6 and 9, and high vertex for the M. Kinneir and Calvert designed the limited range of characters in two weights; a SemiBold 'Permanent' weight for use as white letters on blue motorway signs, and a Bold 'Temporary' weight for heavier black letters on yellow non-permanent signage. In addition to creating full fonts in both original weights, the K-Type family adds a new Regular weight, plus a set of italics, completing a highly usable condensed typeface which, while rooted in history, is fully functional for both print and web usage. The K-Type fonts are spaced and kerned normally, simply increase the tracking to recapture the generous spacing of motorway signage.