Introducing "Sparkling Horizon" – a mesmerizing handwritten font that captures the essence of boundless creativity and shimmering elegance. With every stroke, this font evokes the sensation of glistening sunlight on the horizon, infusing your designs with a touch of radiant charm. Whether used for invitations, logos, or creative projects, "Sparkling Horizon" brings a sense of enchantment to your words. Let your imagination take flight as you create with this font.

Based on the handwriting and sketches of American experimental composer John Cage, this set was produced in conjunction with The Museum of Contemporary Art in Los Angeles and the John Cage Trust. This unique collection includes 52 graphic extras culled from the composer's notes and scores, as well as the "Cage Silence" font inspired by Cage's seminal work 4' 33".

This exuberant face was suggested by a piece of French sheet music from the 1930s for the song Sur un Air de Shimmy, The name comes from an Australian song from the 1950s about a noncompliant boomerang. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Ross F. George, the lettering wizard behind many an edition of Speedball lettering books, called this quirky creation "Spatter and Spot Roman". In this version, the spatters go, but the spots remain, and a good time is had by all. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

One of countless variations possible from the modular lettering system called "Super Veloz", developed by Spanish type designer Joan Truchut-Blanchard in the 1930s. This particular variant, for whatever reason, was called "Bob" in the style sheet announcing the system, and it seemed particularly apt. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Inspired by the works of Howard Philips Lovecraft (1890-1936), and the city of Arkham lying abroad the Miskatonic River... witth all those witchcrafts secrecy and the infamous Necronomicon. The Elder Ones and the mighty Cthulhu, who lies and not dies within the dephts of the ocean in R'lyeh he's awaiting... arf, anyway this font will well set for posters, detective stories or horror books, pulps and others... *Full western latin language with most diacritics and numbers* Included in this set: - ARKHAM77 Black (More formal display) 560 glyphes - ARKHAM77 Elegante (for a creepiest rendition) 590 glyphes - ARKHAM77 Titles (as its name do not tells, for credits, or simple text) 560 glyphes - ARKHAM77 Extras (Embellish your work with this cool collection of frames and ornaments) +100 glyphes

Borest, a new carefully crafted roman sans serif display font. The ideas for this font has a wide range of reference, from vintage, classic, art deco, until the modern era. So the looks of this font must be in the wide range of the reference above. Borest has a versatile and luxury feel as you can see in our creations on the display, such as Branding, Header, Logotype, Poster, Magazine, Packaging, Wedding Invitation with art deco style, and more. It shows that Borest can accommodate various design style. Borest comes with OpenType Features. such as Stylistic Alternates as an Ascender swash and Descender Swash and Ligatures. Every glyphs for alternates are curated for the best and without eliminating the characteristics of this font.

The vast resource of hand lettered vintage sheet music titles offers many interesting and unique variations on even the simplest styles of lettering. A simple thick-and-thin serif design circa the 1920s-1930s evokes a reminiscence of the Art Nouveau period combined with a touch of what was to come during the Art Deco era. Most charming is the fact this lettering is free of the formal rules and constraints of metal type, where designers are generally forced into conformity with uniform stroke widths, serif placements and character shapes.

Foundry Fabriek was inspired by the concepts behind industrial fabrication, where and how parts of materials or structures are united. The systematic grid, formed by stencil shapes, is indicative of the work of Wim Crouwel, consultant on the development of this typeface. The compact character widths of Foundry Fabriek are consistent over the five weight progression, giving flexibility for a variety of applications. The characteristic letterforms have an extra dynamic in large scale, perhaps in cast concrete or laser cut metal, to form integrated components in architectural or signage projects.

"Precolombina" consists on a series of graphic symbols native to South America, decorative trims, and a minimal set of typographic characters. The signs were taken from ceramic pottery, clothing, and petroglyphs from the southern cone of South America. We try to select a varied range of signs representing shamans, jaguars, rheas, monkeys, birds, and mythological beings. The decorative trims are taken from the same places and occupy the set of numbers. Finally, it contains the minimum characters of a font to achieve a brand or a title. They take place in the OpenType resources.

The "Galpon Next" typeface is a gestural and dynamic font specially designed for informal or children's texts. The idea behind this typeface is to capture the energy and spontaneity of handwriting, creating a sense of joy and fun in the designs.

Seleniak's outlines are based on the logo of the eponymous MSX video game, also created by its designer. Thus, all ratios are multiples of the typical 8x8 px video character unit, giving the typeface a characteristic appearance and interesting fitting properties.

Adaptation to the 1920s design style which is synonymous with luxury and elegance. Its form is rigid, and stratified, and stands out in the height of its character. This font was created to recognize the famous design style of the time.

A picture of some cast metal letters in a 1950s architectural signage catalog was the basis for Window Dressing JNL. The clean, simple lines as well as the unusual letter form of the B and R inspired this digital interpretation.

This popular type was manufactured by the Crescent Type Foundry of Chicago and sold on their behalf by a half dozen other foundries. Introduced in the early 1890s, just as tastes were swinging away from the excesses of the Victorian period.

An interesting bit of Art Deco influenced serif hand lettering was found on the cover of the sheet music for 1938's "Boatman's Serenade". This became the model for the digital font Inlet JNL; available in both regular and oblique versions.

This decorative, headline or logotype geometric font consists entirely of uppercase letters. The glyphs of uppercase are rounder than their lowercase counterparts, allowing playful interaction within words, contrasting round and square shapes. The font is an extension of the Paragraph fonts family, however the capitals of ParaCap and lower case glyphs of Paragraph are not designed to be used together. That said, you are welcome to try :)

This rough-and-tumble typeface is inspired by lettering in the Book of Kells. Celtic knots can be found in the ASCII circumfles (^), ASCII tilde (~), florin (ƒ) and section (§) positions. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Many local variants of the Greek alphabet were employed in ancient Greece during the archaic and early classical periods, until around 400 BC, when they were replaced by the classical 24-letter alphabet that is the standard today. All forms of the Greek alphabet were originally based on the shared inventory of the 22 symbols of the Phoenician alphabet, with the exception of the letter Samekh, whose Greek counterpart Xi (Ξ) was used only in a sub-group of Greek alphabets, and with the common addition of Upsilon (Υ) for the vowel /u, ū/.[1][2] The local, so-called epichoric, alphabets differed in many ways: in the use of the consonant symbols Χ, Φ and Ψ; in the use of the innovative long vowel letters (Ω and Η), in the absence or presence of Η in its original consonant function (/h/); in the use or non-use of certain archaic letters (Ϝ = /w/, Ϙ = /k/, Ϻ = /s/); and in many details of the individual shapes of each letter. The system now familiar as the standard 24-letter Greek alphabet was originally the regional variant of the Ionian cities in Anatolia. It was officially adopted in Athens in 403 BC and in most of the rest of the Greek world by the middle of the 4th century BC.

Magendfret is a typeface that was designed very mechanically. However, it is also the optimal typeface for expressing soft warmth. Magendfret was designed by constructing a "line." That is: it is based on the concept "it is the combination of a straight line and a curve with a character." I made the character from the act of using and constructing a vector graphics editor, a mouse, and a keyboard. That, I thought when constructing it, should make neither a roman type nor italic type into a novel form, and a very general form. Once those characters were bit-map-ized, they traced again mechanically by the vector graphics editor. It became a soft impression by this work. The very mechanical act of changing the thickness of a line uniformly constitutes the family. The thickness of seven patterns was created first and, finally it results in four patterns. Respectively, styles called Light, Regular, Medium, and Bold are attached as usual. The name Magendfret is meaningless. It is an anagram of a certain words selected very arbitrarily.

It started with an italic, or to be more precise, half an italic. The slanted styles of Urge Text exhibit a certain bipolarity, the tops of glyphs having a standard italic form, the bottoms of glyphs being more Roman in their construction. This sturdy footing really locks the italics to the baseline, making them very legible while still being distinct from the uprights. The same bipolar approach didn't work very well in upright styles, so the Romans are more toned down. Ranging from the almost monoline, Egyptian style light weights to higher contrast ‘Modern’ bolds, there is much potential for use in typographically demanding scenarios. The family consists of six weights, normal and condensed widths, all with italics, making a total of 24 fonts; it’s a highly usable text typeface with an array of OpenType features. All styles include small caps, multiple figure styles (proportional- and tabular-, oldstyle and lining, small cap proportional figures, numerators, denominators, superscript and subscript), standard ligatures, alternate forms (stylistic sets), automatic fractions, case sensitive forms, and a handy (perhaps!) ‘percent off’ ligature in the discretionary ligatures feature.

Love Paradise is a quirky love font with 6 different versions of the font, the difference between each version is in the shape of the heart decoration. This font is basically soft and fun, and coupled with heart decorations of various shapes and choices, will make this font suitable for the projects you are working on, especially those themed on love, valentine, children, babies, weddings, etc. In addition, this font is also suitable for invitation cards, greeting cards, logos, branding, posters, crafting, stickers, social media, packaging, headers, merchandise and others. This font is also support multi language.

Hand-hewn along the banks of the mighty River Raisin in Southeast Michigan, this heavy block typeface is the perfect addition to any design project in need of a stout, yet fun typographical treatment. Before this font made its journey into the outside world, it began its life as a 4B pencil sketch on cheap inkjet printer paper, as many of my projects do. This typeface, not unlike me, doesn't waste its time with finesse, or convention, and truly doesn't mind being a little bit on the thick side. There is a time for refinement and propriety, but this ain't it.

Within the pages of the 10th edition of the Speedball Lettering Book (1927) is an alphabet called “Vanitie”. This had been redrawn digitally as Merriment JNL, and is available in both regular and oblique versions.

Despatxada letters are the scans of the alphabet of a manual rubber press. Letter by letter. Real prints. Real textures. You will not find another typeface like this. An heroic font in the digital era.

Hello Introducing, Ragistan - Elegant Display Sans Serif is a unique font that uses ligatures to smoothly link letters. Perfect for adding a unique twist to word-mark logos, monograms, or pull quotes. Ragista has 32 ligatures and 6 Alternates as well as numbers and punctuation making it super fantastic. Ligature can be turned off if required standard writing needs. Any question? Just ask! What's Included : Standard glyphs Alternate glyphs Ligatures Web Font Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support Image used: All photographs/pictures/vectors used in the preview are not included, they are intended for illustration purposes only. Language Support: Danish, English, Finnish, French, German, Italian, Luxembourgish, Norwegian Portuguese, Spanish, Swedish, Swiss, German and More Cheers! Thank You

Aphrodite Pro is an amazing handmade font full of alternate and ligature forms designed by Sabrina Lopez and Maximiliano Sproviero. Check out the brochure in the Gallery section to see some examples of this OpenType font in use and the wide range of combinations possible.

The look and feel of pen lettering is captured in this nostalgically-styled font from Jeff Levine. Add a touch of the 1920's or 1930's to your projects with Pendraw JNL to evoke the look of old-time show cards and signs.

Airliner JNL is based on hand-lettering found on a promotional postcard for Kitty Davis' Airliner - a popular Miami Beach night spot of the 1940s. All of the usual things that make hand-lettering endearing can be found in the letter shapes of this font.

Clarendon is the name of a slab-serif typeface that was released in 1845 by Thorowgood and Co. (or Thorowgood and Besley) of London, a letter foundry often known as the Fann Street Foundry. This current design is a somewhat condensed version of the font.

This decorative, headline or logotype geometric font consists entirely of lowercase letters. The glyphs of uppercase are rounder than their lowercase counterparts, allowing playful interaction within words, contrasting round and square shapes. The font is the result of a new identity development for Paragraph.

This is a modern-day interpretation of the 1930s font. With a wide range of alternates, you can create Art Deco and Bauhaus style typography in one piece. People who see it will be fascinated by the stylish and feminine look of the font.

The concepts of this font come from the Palmer’s Penmanship guides and manual from XIX century.

This family was inspired from a lot of 1848-1850 French engraved documents reproducing handwritten texts talking about the Paris' insurrection days in June 1848 (described by Victor Hugo in Les misérables) . It seems that all were first written using quill pens, as the strokes are too much heavy and bold for metal pens and even though the engraver work is very fine. We have added only a few characters, most of them were present in the originals. The TTF and OTF versions are enriched with more than 50 ligatures or alternate characters.

DF Korolev is a 72 weight geometric sans serif family based on lettering by an anonymous Soviet graphic designer from the propaganda displays at the Communist Red Square parade in 1937. It has been named in honor of Sergey Pavlovich Korolyov, or Korolev, considered by many to be the father of practical astronomics. Rational and robust, it is also elegant and refined. Tracings done in Illustrator over a photograph featuring this type pinned down some of the basic character shapes. These were then imported into FontLab, where the full glyph complement was developed. The lower-case has been designed from scratch, and adheres to the structural logic of the uppercase as closely as possible. The complete Korolev super-family includes standard, italic, condensed, and compressed versions, each in five weights. Try the ‘rounded’ and ‘rough’ companion families. The Alternate families come with a double-story “a”.

Dimensions is redesigned font family based on Blackout font released as free font in 2005. The original blackout has been used especially for company or brand logo of fashion and music label in the world. In 2011, Blackout had evolved into this Dimensions font family of seven weights with roman and italics. They are one of the most condensed, black and skinny font in the world. All weights and italics have upper and lower cases, accented characters and small capital glyphs that can be used with OpenType smcp feature. There is high contrast version called Speedometer.

I like orange juice. Come on, who doesn't? Orange juice is the drink of heroes; it's the elixir of life; it's the gods' own ambrosia. Suco De Laranja means orange juice in Portuguese and I named this font thus, just because I love the stuff! Suco De Laranja is a very narrow, very gentle typeface with a rough edge. It comes in a variety of languages and guess what? I have added Cyrillic as well. Just to be complete. So there you have it: a font named after a juice. Take a sip and enjoy! На здоровье!

The digital font Technotyp is based on the hot metal typeface created by the German typographer and type designer Herbert Thannhaeuser (1898-1963) for the former East German type foundry Typoart in Dresden. In the typography book ‘Der Schriftsetzer’ (Fachbuchverlag, Leipzig, 1952), by Paul Fritzsche, this absolutely beautiful slab serif design is presented in all its variations. Fritzsche remarked that – because of its rather condensed form and its relatively long ascenders – the 'Werkschrift' of the Technotyp (comparable with our 'Regular') seemed to be very well suited to serve as a text face, and recommended for this purpose that the face be cut for the composing machine. However, this never happened and the entire Technotyp family was made available for hand composition only. This is finally changing and being remedied for good now: URW++ proudly presents the new digital version of this really charming font family with its distinct flavor of the 1950s, adding it to the other digital renditions of Herbert Thannhaeuser fonts at URW++, namely Garamond No. 4 and Magna. The original Typoart family had an italic style for the light version only. The new digital version of Technotyp includes italic styles for the regular, medium and bold weights as well, enhancing the family to meet today’s standards and requirements for professional type setting. To further increase its usefulness, Cyrillic faces were created, too. True to the standard for all digital fonts at URW++, the character set for Technotyp covers all West- and East European languages.