Breaking from our catalog of typefaces to create a new handwritten font family, Modern Love was born out of our desire to see what would happen if we took a step back from the norm. We weren’t looking for the perfection of the many calligraphy techniques, but more of a natural way of writing with the same tools. Our escapist experiment into casual lettering culminated into 4 fonts: Modern Love Regular, Grunge, Rough and Caps. Modern Love Regular is a hand-painted script, each glyph individually designed with a pointed brush and walnut ink. The aim was to create an effortless hand-drawn feel while keeping the contrast high density. Playful, yet polished, this font works very well when accentuated with the family’s two distinctive styles: Modern Love Grunge, simulating a washed-out effect, perfect to add a vintage look to your projects; and Modern Love Rough, with its crunchy borders, makes letters visibly rough-around-the edges and gives large letters an unmistakeable pop. All three fonts include a hand-painted set of ornaments, swashes and alternates to limitlessly customize and decorate your texts, accessible through Opentype features. Modern Love Caps is the fourth font, a handwritten Sans Serif that ties the family together with its simplicity and readability. Designed with a pointed nib and Indian ink, this font boasts a different style that perfectly complements Modern Love Regular, Grunge and Rough. The result is a fresh font family perfect to create headlines, posters, DIY hand-lettered artwork, books, holiday cards, wrapping paper, invitations, T-shirts, labels, packaging for cosmetics, fashion supplies, food products, artisanal goods, and an endless array of options for your projects. Modern Love…when brush meets passion. Check out also ‘Modern Love Slanted’ Turquoise Nautica

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced „Kisch“) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added two headline weights, which are available as a separate font family Kis Antiqua Now TH Pro Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

Bitcrusher is not your ordinary typeface. It is a futuristic, ultra-compact sans-serif font that draws inspiration from the sleek design of automobiles and cutting-edge consumer electronics. Its unique compression capabilities allow you to pack more words into a single line than most techno typefaces can ever dream of. Available in five weights and four widths, Bitcrusher is a versatile font that gives you unprecedented control over your typography. If you need to fit more text into a tight space, Bitcrusher Condensed is the perfect choice. And if you want to push the limits of font compression, Bitcrusher Compressed has already reached the standard limit. For those who demand even more compactness, Bitcrusher Crammed has an abnormally small footprint, while Bitcrusher Crushed has an absurdly high density that defies all conventions. But no matter which variant you choose, you can be sure that Bitcrusher delivers consistent stem, space, and gap widths that allow you to break the rules of scaling and tracking. With Bitcrusher, you have complete control over your typography. Want thicker stems? Simply scale a narrower width to a bigger breadth. Need to go even tighter than Crushed? Make it even thinner. Bitcrusher is a font that cannot be broken. It is the ultimate tool for designers who demand precision and control over their typography. Choose Bitcrusher and discover the power of true compression. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Bourton Text is a modern sans-serif typeface family perfect for both text type settings and display purposes. While it’s not a layering type family like its brother, Bourton, it come packed with features, extras and over 2,000 characters that make it stand on its own. HISTORY Bourton Text is a new take of the Bourton family that was one of the best-selling and favorite fonts of 2016. After countless requests for lowercase alphabet, or suggestions for a font pairing with Bourton, this new text setting family is based on the original shapes of Bourton. DESIGN & CREATION In taking Bourton Base was the starting point as they narrowest width and boldest weight. From there, lowercase shapes were designed that matched the aesthetic and details of the popular capitals. As Bourton was a heavy display font, some small tweaks were done to make it more fitting for smaller text settings, including reducing the letter-spacing and reworking some counters. Some areas needed complete reconstruction, such as the figures. The design of those began anew with a style that worked with the capitals and lowercase but also as a standalone set. Currency shapes were updated to match the numerals. Punctuation was also reimagined to work better in smaller type settings. Diacritics and extended language support was also updated and expanded to include full Latin plus language support for 219 latin based language spoken in 212 countries. Once the basic alphabet for Bourton Text Bold Narrow was formed, the font was expanded in both weight and width. Taking the weight from Bold down to Hairline, it allowed for more range in use. The typeface needed to be expanded in order to reach better as a book weight and width, in addition to a regular width, a wider version was create as well. FEATURES Once the extremes were set in place, small capital forms were designed for text and display purposes. These also allow for nested capital letters, lifted small caps and other display features offered in the typeface. One of the most popular fonts in the Bourton layering font family is Bourton Line. This led to an experimentation with rounded Bourton Text completely and thus a complete set of duplicated characters with rounded terminals. By using the Opentype Panel, a rounded font is a single click away. Every feature has been carefully thought out and updated across the entire font. In total, Bourton boasts over 2,300 glyphs, 42 font files with 3 widths and 7 weights in upright and italic.

Alt-Gotisch Verzierte is a typeface of decorative initials that is Victorian in style and bears a close family resemblance to the many ornamental tuscans cut throughout the nineteenth century by British foundries. Instead of the bifurcated terminals of the archetypical tuscan (see Figgins Tuscan by HiH or Stereopticon by Dan X. Solo), these letters display what Nicolete Gray might call a “wedge and bite” design -- as if they started with the wedge serif of a latin form and someone came along and took a perfectly round bite out of the wedge. We need not dwell on the lack of teeth marks. The calligraphic curls and flourishes are often graceful, sometimes a bit contrived, but always complex. There is a busyness that marks the style of the period. If you ever see an old photograph of a well-appointed Victorian parlor, you will recognize that same quality of busyness. Overdone is a word that frequently comes to mind. Alt-Gotisch Verzierte means “adorned or decorated old gothic.” The typeface is attributed by Alexander Nesbitt to an unidentified German foundry of the nineteenth century (Decorative Alphabets and Initials, Dover, New York 1987, plate 92). The designer is unknown. Our font is supplied with a lower case that is similar to the upper case, but is 15% shorter and is simplified by the omission of the decorative vines. For the lower case, alternate letters A, E, & T; and ligatures LE, OT & LY have been supplied. In addition, a few small decorative vines were planted here and there for optional use. An accented upper case is not part of the original design and is not here supplied. This design is also seen under the name “Sentinel” -- as always, it is worthwhile to compare the completeness of the character set and the faithfulness of the rendering. We believe you will agree that we provide a balance of quality and value that is unmatched in the contemporary marketplace. Alt-Gotisch Einfach is a simplified version of Alt-Gotisch Verzierte. The vine-less lower case of the Verzierte font is the upper case in Einfach. For a lower case for Einfach, the letters were further simplified by stripping away the three-dimensional outline, down to the bare bones and bites, as it were. Einfach, in fact, means “simple” or “plain.” It is interesting to note that this bare bones & bite lower case bears (I have a special license to use two homonyms in the same sentence) a striking resemblance to the 15th & 16th century ornamental letters from Westminster Abbey shown in Plate 47 of Alexander Nesbitt’s Decorative Alphabets and Initials (Dover, New York 1987).

For much of the world, the last half of December encompasses the beginning of winter and the a season of gift-giving, marked by Hanukkah and Christmas. It is generally accepted that the tradition of giving of gifts at this time was begun by The Three Wisemen. As described in The Gospel According to Matthew, the wisemen, led by a star from a distant land to the east, found the baby Jesus. First, they worshipped him and then, "they presented him with gifts: gold, frankincense and myrrh." (Matthew 2:11). Thus began the tradition of celebrating the birth of Christ with the giving of gifts. There is a parallel tradition in the Jewish faith of the giving of gelt or gold at Hanakkuh to help support poor students, in keeping with the rich history of scholarship that is fundamental to the rabbinic system. Inevitably, in our secular culture, there has been a blending and a secularization of these traditions. The reasons have gotton lost in the “gimme.” What is often overlooked is what Paul realized when he told Timothy, “Neglect not the gift that is in thee.” The most importent gift is the gift inside of us, the gift of sacrificial love for others. When we let that gift be diminished in our minds amid the clutter of modern day material seeking, we can recall the prophesy of Micah over 2800 years ago, But thou, Bethlehem Ephratah, though thou be little among the thousands of Judah, yet out of thee shall he come forth unto me that is to be ruler in Israel: whose goings forth have been from of old, from everlasting." (Micah 5:2 KJV) Never underestimate the impact you have on others. Words of kindness can change people’s lives. The Talmud says that the highest form of wisdom is kindness. Be wise this holiday season. The font BETHLEHEM STAR was originally designed for the church to which I belong, The Star Bethlehem Church of Ansonia, Connecticut, USA and is based on the typeface Accent with the permission of URW++ of Hamburg, Germany. You might choose BETHLEHEM STAR for your personal greetings as well as for flyers and programs at your church this holiday season. Like most display fonts, it is most effective at 18 points and larger. Like most script fonts, it is most effective when set with both upper and lower case. All caps with this font is like eating two pieces of pecan pie — too much of a good thing.

Inspired by the type elements of 17th century Dutch mapmaking, Boncaire Titling provides you with a historic yet adventurous look for your library. This addition from insigne found its muse in a map of Curacao by Dutch cartographer Gerard Van Keulen, a member of the prosperous Van Keulen family from Amsterdam, who were engaged in the manufacture of maps for seafaring. Much thanks on this project goes to The Norman B. Leventhal Map Center, housed at the Boston Public Library. Through the centers kindness, I was able to view a number of period maps in person and to meet with curators, who explained more about the Van Keulen family and the way maps of the period were created. While I studied the maps, I narrowed in on some of the original types unique idiosyncrasies. For instance, the long, exaggerated serifs, which give the forms a sense of stability, aid in the faces legibility--largely a byproduct of the engraving method that was used to create the metal plates for manufacturing these maps. In creating Boncaire Titling, I decided to capture these unique idiosyncrasies, embracing the character of the engravings rather than removing them entirely through over-refining the forms. The result is an elegant family with far more than seafaring potential. This font has a full range of six weights, from thin to black. It also includes a wide variety of OpenType alternates. All insigne fonts are fully loaded with OpenType features. Boncaire Titling is also equipped for complex professional typography, including alternates, smaller titling caps and plenty of alts, including normalized capitals and lowercase letters. There are over 30 autoreplacing ligatures, and 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. Boncaire Titling also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Boncaire Titling supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Maps are fascinating; they come with the promise of treasure to be uncovered. Examining the map itself, too, you can find great wealth in the details so artfully condensed to that single piece of paper--details carried over into this new insigne font. For your next project, explore the imagination potential in Boncaire Titling.

The Algerian designer Taouffik Semmad created the fonts in 1997. Taouffik Semmad grew up speaking Algerian-Arabic dialect and French, studied Russian, and is now living in Montreal. This could perhaps explain his current passion, to "find a universal writing", which he admits is a Utopian idea. Created with brush and Chinese ink, the characters of ITC Atmosphere came from Semmad's hand but only after they were fully formed in his mind's eye.

Sidewalk Cafe will serve up a look from your Font Menu that’s delectably deco. Though developed from a few hand-lettered words found on a 1930s poster, it retains a contemporary flavor. The shaded version is designed to be layered over Sidewalk Cafe Underlay, to create contrasting color possibilities, as both share the same kerning values. Supports Western and Central European Latin languages, in addition to Baltic, Celtic, Esperanto, Romanian and Turkish.

Blackmon is a retro, bold script font that will bring you back to the 60s – 80s. This typeface has an extruded version, so you can create a retro effect with ease. This typeface is perfect for logos, invitations, labels, magazines, books, greeting/wedding cards, packaging, fashion, make-up, stationery, novels, labels, or other advertising purposes. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

Askale - Victorian Vintage Display Font. This typeface has many alternatives with swashes that can make your lettering/logotype more attractive. Bold serifs and more swash on each character make this font even more unique. This font is very suitable to be applied, especially to logos, and various other formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type. advertising purposes.

Matchout is caligraphy sans serif with seven variation weigh, This font is comes in uppercase, lowercase, punctuations, symbols, numerals including basic and advance cyrillic. Matchout can used in various styles, casual, fun and simple letter. You are also worry-free because with more than 323 glyphs every weight, and Support for up to 73 languages Matchout perfect for branding, websites, quotes, invitation, flyers, greeting cards, poster, education, fun, logo, and marketing purpose

Cadence was designed for a computer consulting company called Shamrock Solutions. The logo needed a Celtic font for the word "shamrock" that complimented the tech font used for the word "solutions." Most Celtic fonts didn't hold up well next to the tech font, which led to the creation of Cadence. Although inspired by Irish designs, Cadence is a sharp departure from traditional Celtic typefaces and in most contexts the inspiration isn't immediately obvious.

Churchward Tua and Churchward Tua Italic are two more OpenType font releases by Bluhead Studio from the exciting and unique library of Joseph Churchward type designs. The Tua fonts sport an Old West, cattle drive sort of look. One can imagine Tua being used on the swinging front doors of the local saloon or jailhouse. These fonts are perfect for headlines, posters or wherever you want to express your inner cowboy. Giddy-up!

Alea is based on the drawings of Maria Balle. The floral, organic look of these bastard script initials will play well together with nearly all Didone designs and will give them a special note. Alea works perfectly with the Adana fonts also available from astype. The Opentype features Superior, Inferior & Numerator will activate the filling objects. Use these features on a new layer and choose your color to get up to three color layers.

A personal calligraphic series commissioned by Bitstream from Gudrun Zapf von Hesse. Although Carmina BT is a neutral design, optimized for use in digital publishing, Zapf von Hesse’s unique calligraphic spirit is still quite visible in the family’s letterforms. This is not surprising, as all of Zapf von Hesse’s typefaces are calligraphic in nature. Yet Carmina BT is suitable for almost any conceivable digital text application, from book design up through signage use.

Abeille means bee in French. I am a little worried about the world's bee populations, as whole colonies collapse due to monoculture and pesticides. I have planted many bee-attracting plants in my garden and even put up a 'bee hotel' (which is full of tenants right now). Abeille is a hand drawn didone-ish font, kind of cute and happy, very legible and full of character. Abeille comes with a swarm of diacritics.

Star bright tonight! Deniart’s StarCrystals typeface is an original design featuring 62 unique snowflake symbols. These geometric starburst snow crystals are sure to add elegance to all your winter designs. This font comes with a PDF guide to put all these special characters right to your fingertips! TIP: pair this one up with our SnowChrystals typeface for an even greater winter snow experience - a virtual snow storm of crystals for all your decorative needs.

Pronter It is a stunning vintage font that comes in three styles: Regular, Rough and Stamp style and also includes two font styles: shadow and rough shadow. This font contains many alternates, so make them up to the extent that your design's creativity is enough. Pronter font versatile it can be used both in modern projects and in vintage ones, as a main or additional one. This font is easy to use, has OpenType features.

Spooky Party is a unique and very unique display font. Add to your creative ideas and notice how they make them stand out! This will take all crafts to the next level! Spooky Feast is perfect for logos, quotes, posters, clothing, and any other design that requires a strong and unique touch. To stay up-to-date on my latest work, follow me and let's be friends because there will be many promos.

Hi, introducing an Amber Taste Pro font. It's a vintage typeface with classic shape. Seven weights variations from thin to bold is available. Actually this font set is a remastered version of my best selling font Amber Taste with lots of improvements. Pro version has much more characters, including multilingual west european support. All the contours was cleaned up and several glyphs has a new more organic shape. Thank you and have a nice day!

Prolexia is designed to make the font friendly towards those with dyslexia. All the characters are unique with no rotation or mirroring, this makes it harder for the mind to mix up similar glyphs. The characters are made with the illusion of perspective: this helps orient characters in the correct direction to make mental reorientation harder. Finally the o shape is somewhat flattened, this also helps to counteract mental rotation of characters.

For those designers looking for nothing more than a library of familiar catchwords and phrases re-drawn from vintage source material, look no further. Collected Catchwords JNL gathers up ninety-three of them, picked from the dingbat typeface library of Jeff Levine Fonts and placed into one convenient font file. "Free", "Sale", "As Advertised", "Dollar Days", "Look", "New" and dozens of other icons of print advertising are no more than a keystroke away.

So your widget’s stuck between the framistat and the whatchamacallit, there’s a spanner in the works and your avengers just won't assemble? Hey, if you want to get any more work done, you know you're gonna have to hook the hoojamajigger up to the Doohickey! And if those instructions aren't already confusing enough, DoohickeyLower is also available in a variety of languages for our international customers. See the families related to Doohickey Lower: Doohickey.

Alaca typeface was designed, based on its octagonal form, as contemporary, dynamic and modern font family. While designing Alaca typeface each glyph was given a form to link with other glyphs. As such, the harmony between the letters was carried to an advanced level. Alaca font family consists of 6 weights and italics matching those weights. It can be used typographically as a logo, title and text font up to certain sizes.

Manihot is a cool display sans-serif font, loaded with interlocks, ligatures and alternates to render your message in a nice eye-catching way, topped off with the usual je-ne-sais-quoi of PintassilgoPrints fonts. The family brings rough and clean styles and yet a very useful dingbat font with dozens of tiny graphics to complement your words. It’s up, witty, honest and just impossible to ignore. Give it a go!

In 1999, Jeff Levine released a freeware font called "Channel Tuning JL" scanned from drawings made with a felt tip marker and designed as if the letters were breaking up due to poor reception such as on pre-digital TV sets. Over a decade later, Jeff has totally reworked the font—giving it cleaner lines, an extended character set and renaming it Channel Surfing JNL to set it apart from the roughly-drawn original.

Introducing Eyesome - Modern Font Duo Eyesome is elegant and organic typeface with multilingual support. It's a very versatile font that works great in large and small sizes. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol Regular Italic Script Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Gauche Display is a "tasteless and awkward" script font for those who don't exactly want sophistication in their typographic script usage. Er, um, uh..."inspired" by several script fonts (all of which look much, much prettier), you can't take your eyes off this font, much in the same way you can't stop looking at a trainwreck. In other words, it sucks on purpose and lives up (or down, take your pick) to its name.

FF Marselis crossbreeds geometric and humanistic forms, creating a freshly dynamic sans serif family. All of the counters in the typeface are open; this aids readers’ eyes quickly flow across lines of text, without experiencing hang-ups. Certain superfluous strokes have been eliminated – there are no spurs on the b or q, for instance. The alphabet’s diagonals all bow outwards slightly, adding flavor to the “A”, “K”, “R”, “V”, “W”, “X”, “Y” and “Z”.

Adimlara is attractive because it is sleek, clean, feminine, sensual, glamorous, simple and very easy to read, thanks to its many luxurious letter joints. I also offer a number of viable alternative styles for all letters. Classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting cards/weddings, packaging, labels or all kinds of advertisements. for your purposes.

This typeface is named after Sarah Eaves, the woman who became John Baskerville’s wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her first husband, Mr. Eaves. Like the widows of Caslon, Bodoni, and the daughters of Fournier, Sarah similarly completed the printing of the unfinished volumes that John Baskerville left upon his death.

Calorie Suit is a clean and super sharp comic font. Actually the use of Calorie Suit is quite wide. I'd like to dare you to use this font for massive texts, even though the real force of the font is for one liners or catchwords. Originally drawn in hand, and then cleaned up beyond recognition - but keeping the characteristics of the original sketch. You may notice influences from graffiti here and there too! :)

ITC Eastwood is the work of British designer Martin Archer and is named for Clint Eastwood. Archer was looking for a plain oldstyle typeface with open lower case forms and used Stempel Garamond as his starting point, although the result ended up well beyond its origins. In small point sizes the typeface looks interestingly rough while at display sizes it looks like a 16th century French typeface and its unique details come forward.

If you're a man with no name and you like your Westerns a little more continental, we've got a Fistful of Fonts for you! Load up your guns with our dynamite new offering, SpaghettiWestern. Lip synch the Good, the Bad AND the Ugly scripts you're presented with and we guarantee that Spaghetti Western will make Spanish lettering look a little bit more Mexican. Don't try to understand 'em, just rope and throw and grab 'em!

Baraksawa is a Bold, Condensed Vintage Serif Font. This typeface has many alternatives with swashes that can make your lettering/logotype more attractive. Bold serifs and grainy effects make this font even more unique. This font is perfect for logos invitations, labels, magazines, books, greeting/wedding cards, packaging, fashion, make up, stationery, novels, labels, or advertising purposes. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

Monsterlight is a retro, bold script font that will bring you back to the 60s – 80s. This typeface has an extruded version, so you can create a retro effect with ease. This typeface is perfect for logos, invitations, labels, magazines, books, greeting/wedding cards, packaging, fashion, make-up, stationery, novels, labels, or other advertising purposes. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

HiFi is a geometric script whose genesis lies in drive-in movie theaters, vintage auto emblems and radio dials. It embraces the stylistic tenets of retro futurism and proposes that the evolution of design styles, rather than being linear, is a circular process, continually revisiting and reshaping itself. It evokes the 40s & 50s and pre-transistor electronics when you turned your radio on and waited patiently for the tubes to warm up.

"Culpa" is a children's themed handwritten font. This font looks cheerful and without being bound by standard rules, just like the nature of children who have not been constrained by standard rules. This font has almost the same lowercase and uppercase sizes, so it can be mixed up in words and sentences. "Culpa" is very suitable for use in designs with children's themes, such as posters, clothes printing, children's books, birthday greeting cards, etc.