ITC Cushing has a long history. The typeface was originally designed by J. Stearns Cushing, a Boston-based book printer, and famous American type designer Frederic Goudy expanded it to include an italic weight. Under a special license from the American Type Founders, Vincent Pacella modified the design for ITC and added some additional weights. ITC Cushing is slightly condensed with large, bracketed serifs. Pacella changed the capital letters to better complement the lower case and replaced the sloping serifs of the italics to linear type serifs to produce ITC Cushing.

HWT Aetna is a revival of the sturdy Roman style of wood type most often called simply Aetna. This new digital version by Aaron Bell features four widths all based on the various widths commonly offered by 19th Century wood type manufacturers. In addition, there is a four-layer all-caps version Aetna based on the the famous Wm. Page Chromatic Types, that allows the user the ability to easily create these chromatic streamer and shadow effects. Both the multiple width Aetnas and Streamer component fonts support full Western and Eastern European languages.

Elida JNL was modeled from an image of some wood type for sale online. Although the type design most likely has its roots in the classic Bodoni, there were a few characters in the original wood type that had a bit of a square or block shape to them. Those characters were modified in order to keep with the overall roundness of the other characters. The name Elida JNL comes from a small town in New Mexico. Available in six styles: Regular, Oblique, Extra Condensed, Extra Condensed Oblique, Ultra Condensed and Mega Condensed.

Academy was designed circa 1910 at the Berthold type foundry (St.-Petersburg). It was based on Sorbonne (H. Berthold, Berlin, 1905), which represented the American Type Founders rework Cheltenham of 1896 (designers Bertram G. Goodhue, Morris F. Benton) and Russian typefaces of the mid-18th century. A low-contrast text typeface with historical flavor. The modern digital version was designed at Poligrafmash type design bureau in 1989 by Lyubov Kuznetsova. Corrections and additions were done later in ParaType in early 2000th. Reworked version with Bold Italic style was released in 2009.

Proudly present Maxmillion - 80's brush type, created by ikiiko. A expressive handwriting type with a modern and wild shape used 80's vibes. This type is very suitable for making a posters, t-shirt design, neon sign, party flyer, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Complete Alternates & Swashes Multilingual Support Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Poplar is an Adobe Originals typeface designed by Barbara Lind in 1990 for the Adobe Wood Type series. Poplar, a Gothic condensed, was designed from photographs taken by Rob Roy Kelly of the one surviving copy of an 1830 William Leavenworth type specimen book. Leavenworth possessed unusual artistic abilities, and his treatment of the letterform counters as narrow slits made it the only wood type of its kind displayed during the nineteenth century. Poplar is an excellent display face, its simplicity making it useful for a broad range of work.

Santis is a multiface type, special for logos, brands, magazines and editorial world. Especially for setting trends in fashion and design. The particularity of this font is that you can easily read it, even when applying swash type letters. It is a Didot based font. Santis versatility can harmoniously display a word or phrase. Santis has 1017 glyphs with alternate characters, numbers and ligatures ornaments specially created for a better design. For best results use with Open Type. Designed by Enrique Hernandez with technical support of Daniel Hernández.

Catchwords have always been offered alongside standard alphabets in wood type catalogs and so often appear on posters as a decorative punch that they have become part of the wood type vernacular. Words like 'The', 'And', 'To', 'For', and less common abbreviations could be inserted into a design along with decorative ornaments or stars when space was tight or to add variety in the design. HWT Catchwords features over 80 words based directly on designs offered by Hamilton and other wood type manufacturers of the 19th and early 20th Century.

Introducing Fielke - Decorative Type, created by ikiiko. Fielke is elegant type with a beautiful decorative shape. This type is crafted with the touch of craftmanship. Fielke also clean have a ton of stylistic alternatives to choose. This typeface is perfect for an elegant logo, interior magazine, beauty product, packaging product, quotes, or simply as a stylish text overlay to any background image. What's included? 2 Weight : Regular & Italic Number & Punctuation Alternates Multilingual Support Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Minthas Script comes with 280+ glyphs. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts) so that all the alternate characters can easily be accessed in full by a craftsman or designer. Note : Tail is available only for lowercase letters. Happy Designing!

Foundry Wilson is a lovingly drawn revival of a 1760 font from Scottish type founder Alexander Wilson, a learned and cultured man who crafted his types with care and skill. Many of Wilson’s fonts were produced exclusively for the Foulis brothers' classics published by Glasgow University Press. This creative relationship produced typography that earned the praise of their peers. A fresh alternative to the contemporary Baskerville, with a taste of the incised letterforms of its time, Foundry Wilson is a robust and lively type design that displays a beautiful colour and texture on the page.

"I digitized and to revitalize NurnbergSchwabacher by the extinct Haas'sche Schriftgiesserei, a German/Swiss foundry established in 1790 and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. On the Luc Devroye site this foundry is listed on the Extinct Foundries of the 18th century page. This design is very similar to another Intellecta best seller: Hostetler Fette Ultfraktur Ornamental, both drawn from the classical type specimen book from Hostetler. The ornamental frame that completes the font is a fantastic baroque ornament that I found in another old book, unfortunately lost now. Luc Devroye, whose book is the source for all of my fonts, writes this about Rudolf Hostettler: He was a Swiss type designer, author of “The Printer’s Terms” designed by Jan Tschichold, of "Technical Terms of the Printing Industry" (5th edition was printed in 1995), and of "Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften" (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

Introducing Filia, a vintage-inspired display font with smooth curves and plenty of OpenType features. Filia is perfect for your next editorial, advertising, branding, book, or invitation project. OpenType Features Filia includes 900+ glyphs. Specific OpenType features include stylistic alternates, several stylistic sets with features like swashes, initial forms, multilingual support (including multiple currency symbols - for kicks I even included a Bitcoin symbol in there), and three ampersand styles. It also includes 120+ standard and discretionary ligatures that add character and interest to your typography. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access most of these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you have questions about this, ask me!) Please note: there is only one file this font. That's the magic of OpenType - all of the alternates, ligatures, etc. are built right into the main .otf file! Mail support : julie@upupcreative.com Find inspiration (and sneak peeks at my next font-in-progress) on Instagram: http://instagram.com/julieatupupcreative Facebook : https://www.facebook.com/upupcreative Pinterest: https://www.pinterest.com/upupcreative My website: http://upupcreative.com PLEASE ENJOY! I can't wait to see what you make with Filia! Feel free to use the #upupcreative and #filiafont tags to show me what you've been up to!

I love Tea. Do you love Tea? Good. Because there's a whole load of T's in the Totally Terrific Typeface! Bursting with fun and bouncy brush-strokes, this typeface will undoubtedly add a dash of cheeky playfulness to your text - ideal for greeting cards, branding, merchandise, invitations & hand-made quotes. The awesome thing about this typeface is that it's so easy to mix up the various font styles and create totally unique, hand-made looking words each time. The lowercase characters can be connected (Totally Terrific Regular) or un-connected (Totally Terrific Two), and will work in any combination of these two versions. Not only does it also look great in all-caps, but the uppercase letters will fit in with the lowercase at any location - I'm serious! Just throw one in the middle of a word, I dare you ;). Your download will contain 2 font files: Totally Terrific Regular • Contains a full set of connected lowercase letters, uppercase letters, a large range of punctuation, numerals, and multilingual support. Totally Terrific Two • A second version of the Totally Terrific Typeface, with a completely new set of un-connected lowercase characters. These are designed to work in perfect harmony with the connected set from the other font file. Just keep switching between the two fonts to create unique word layouts!

SGT PEPPERS LONELY HEARTS CLUB is a typeface inspired by the capital letters on the bass drum in the Beatles' Sgt Pepper album cover. The original lettering was hand painted by fairground artist Joe Ephgrave during March 1967 in an art deco style he called 'futuristic'. The font completes the uppercase, adds a lowercase, and includes a full complement of over 400 characters. SGT PEPPERS OUTLINE and SGT PEPPERS OUTLINE FILL are two fonts with matching spacing and kerning that can be overlapped for creating bicolor/multicolor effects and faux drums. The Outline and Outline Fill fonts do not contain lowercase characters, instead they comprise two weights of outline capitals as painted on the Sgt Pepper drum. The uppercase letters are in the wider style from around the outer edge of the drum, and the lowercase keys deliver the more condensed 'Lonely Hearts' inline style from the middle of the drum. The uppercase Y has been flipped to produce a more conventionally acceptable character with the thicker diagonal arm on the left. However, Joe Ephgrave's reverse Y (with inline) is included in the Outline fonts at the Section keystroke § (Alt-0167 on Windows). A simplified vector image (mono) of the bass drum without lettering is also included within the Outline fonts at the PlusMinus keystroke ± (Alt-0177 on Windows).

Introducing a new, elegant Ariana Script Font! If you need a casual chic calligraphic touch to your designs, this font is made for you! Ariana Script is built with OpenType features and includes start and end swashes, alternative characters for lowercase and uppercase letters, lots of different swash alternatives for lowercase, numbers, punctuation, alternatives, ligatures and also supports other languages ​​:) More than 400 engines fly! If you don't have opentype capable software, you can still access all ligatures, alternatives and swash alternatives by installing all the supporting fonts included in the download. From there, you can switch between the two as you type for a handwritten, professional look. Take a look at the character map to help you along the way! Thank you very much for visiting my shop! All the best,

Just Beachy – Modern Serif Font Is a modern serif font it's a cool modern take on a retro classic, and it's ready to make a lasting impression on your merchandise, quote designs, header text, logos & branding, advertisements and much more. It's packed with plenty of alternates and ligatures to really bring it to life, and give you a wide range of customisation options. What you get Letters, numbers, punctuation, multilingual support, alternate and ligature Regular version HOW TO ACCESS ALTERNATE CHARACTERS Open glyphs panel: In Adobe Photoshop go to Window - glyphs In Adobe Illustrator go to Window - Type – glyphs I really hope you'll get pleasure using Just Beachy font and it will be perfect addition to your font collection! Contact me with an inbox message If you have any question. Thank you and enjoy!

Sond is a casual, modern and hand brushed font. I've designed Sond carefully with the intention to preserve in its glyphs the original tell-tale dry brush imperfections and a bouncy baseline for a more personalized effect even more authentic. As an exclusively Open Type release, with 519 glyphs and ornaments, it has special alternatives for all letters with lots of possibility an infinity of combinations. There are plenty of options to allow you to create something unique and special: standard ligatures, swashes and stylistics alternates for each letter, beginning and ending letters. This lovely fonts have already an extended character set to support Central and Eastern as well as Western European languages. Sond is a good choice for greeting cards, posters, labels, t-shirt design, logos, and more.

Capellina is a responsive type family comprised of four styles – two script fonts and two small caps romans – built to work together in typographic compositions intended to catch the eye. The fonts will work in your app as you can see in the presentation above. They can be seen as some kind of lettering machines programed to take advantage of swashes (specially at the beginning and and at the end of text lines) and to avoid stroke collisions. Because of the Contextual Alternates feature, the letters will change while you’re writing. Just use any OpenType-compatible software, keep this feature activated and the font’s algorithm will do the rest. In Capellina Script and Capellina Rough you can also use the stylistic alternates / stylistic sets feature if you want to explore some extra letterforms.

Satellite PT started out as an experiment. Wanting to explore the geometry of using angles instead of curves, I started sketching out the face using grid paper. I had seen similar fonts that tended to be completely symmetrical. My exploration tended to include what I humorously call 'faux humanist' elements, such as asymmetrical bowls, tapers and 'flare-serifs' (for lack of a better word) for select terminals. The result was a quirky and interesting face at display sizes. However, at small sizes, as ink bleed starts to take over, the angles disappear in favor of the overall forms (rounded bowls, etc.) and the 'faux-humanist' effects start to mimic modulation found in more traditional, modulated text faces. While it is hardly a true text face, the result is surprising legibility at text sizes.

In 1978 I went to work at Mergenthaler as a letter drawer. Being an inquisitive sort I decided that I should take a stab at this type design 'stuff'. I drew 25 or 30 glyphs before the work found its way to a high shelf in a dark corner of my apartment. Just 23 years later I found the drawings on a different shelf, in a different home, in a different city and decided to finish what I had started. I'm still trying to deal with my predisposition toward procrastination but I've finished the font. The name of the font is the last name of somebody I played softball with before I moved to Beantown. Ronnie Geis was one of the courageous firefighters we lost on September 11th when the WTC collapsed.

Golden Batch – Modern Serif Font Is a modern serif font it's a cool modern take on a retro classic, and it's ready to make a lasting impression on your merchandise, quote designs, header text, logos & branding, advertisements and much more. It's packed with plenty of alternates and ligatures to really bring it to life, and give you a wide range of customisation options. What you get Golden Batch Regular Letters, numbers, punctuation, multilingual support, alternate and ligature HOW TO ACCESS ALTERNATE CHARACTERS Open glyphs panel: In Adobe Photoshop go to Window - glyphs In Adobe Illustrator go to Window - Type – glyphs I really hope you'll get pleasure using Golden Batch font and it will be perfect addition to your font collection! Contact me with an inbox message If you have any question. Thank you and enjoy!

Bedgan is a very cute, elegant and unique handwritten font. Expertly designed to be a true favourite, this font has the potential to take your creative ideas to the highest level! Bedgan is attractive because it is sleek, clean, feminine, sensual, glamorous, simple and very easy to read, thanks to its many fancy letter connections. I also offer a decent number of style alternatives for all letters. The 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/wedding cards, packaging, labels or all kinds of advertisements . for your purposes. . . . . . . Contains full set: -4 Type Font -Uppercase -Lowercase -Alternative -Ligatures -Punctuation -Number -Multilingual support. need help or have questions let me know. I'm happy to help.

The Navigator family is inspired by the early explorers, the early sailors with their old-style tattoos and the cowboys in the old west. I mashed up these to styles to create the Navigator display family. It has a vintage feel with a more modern day approach. Use the regular styles to give your artwork a more clean look and feel or the rough styles to take on the more vintage old-style. This family is great for display use on posters, packaging, editorial and logos. It is created with the designer in mind to have some fun and mix up some great looking Upper / Lower case combinations. The Navigator hand font is an informal, rounded sans-serif that works perfectly with the Navigator display fonts to create beautiful logo and type lockups.

Making a Christmas card takes a lot of work! Finding the right typeface can be tough, too. Have you ever spent hours searching for the right one? Well, in 2003, instead of spending hours searching, German designer Guido Bittner made his own. Expectation was first used on the Christmas card for Bittner's Wiesbaden design studio. This delicate series of letters maintains a handwritten feel, in part because it began as a digitalization of Bittner’s own handwriting. Expectation Swash includes additional swash letters, which can be paired with regular version of Expectation to create superior effects. Perhaps it is already time for you to begin working on next year’s holiday cards. Let these fonts be the starting port for your inspiration! Expectation was a winner in the 2003 International Type Design Contest, sponsored by Linotype GmbH.

WildSong was inspired by the exuberant flight and beautiful song of birds. While most brush scripts take their cue from mid-twentieth century samples, WildSong is a fresh, contemporary alternative. WildSong reflects a dynamic interplay between dark and light, creating a sense of drama while hinting at a calligraphic background. Words suggest a baseline, yet are not bound by it. Letters interweave in a seemingly random dance, sometimes connecting smoothly, then breaking that connection as a calligraphic scribe does intuitively. Exuberant swash alternatives to uppercase letters, as well as ligatures can be accessed through both the type and glyph palettes. The font contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

Your branding missing something that makes people amaze? Looking for an elegant font to attract your audiences or customers? What if we told you, you only need to change one element to engage and convert your clients? Introducing Anthony Hartman - A Modern Script Font Giving you a simple, yet gorgeous solution to your branding. This font is another level script font. It encapsulates the essence of elegance and modernity. With its clean script-type design and curved indentations, this font will take your projects to the next level! Use it for headings, logos, business cards, printed quotes, invitations of all sorts, cards, packaging, and your website or social media branding. Anthony Hartman includes Multilingual Options to make your branding globally acceptable. Features: Ligatures Alternates Swashes Multilingual Support PUA Encoded Numerals and Punctuation

This new addition to my Video Store font series takes a scratched lettering style and pairs it with a wildly spontaneous brush font with horrific effect! Given life by an unknowable hand, this font clawed into the misty midnight inspired by retro horror movies, ghost stories and unsettling fireside tales. A boiling pot of misspent youth reading Edgar Allen Poe, M.R. James and H.P. Lovecraft. Outright Horror comes with an all-caps scratched style font with a subtly controlled Art Deco feel and a contrasting brush font that ramps up the fear! Consider it’s Regular style the skeleton that holds the Bold creeping flesh, ready for some horrific Halloween designs! It also comes with numerals, punctuation, language support, custom underlines and automatic ligatures. Contents: Outright Horror Regular Outright Horror Bold Underlines

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. Garamond Pemiere Pro was designed by Robert Slimbach, and released in 2005."

Vicky is a slab serif typeface for headlines designed with geometric proportions. Like all slab serif typographies, it has a very particular strength and robustness. The peculiarity of its forms, as it was born from geometrical figures, creates a cascade of delicate details and inner analogies that make it unique. Vicky is a joyful, happy and shiny typography marked by delicate forms, but with a very strong character. It was born to be soulmate of Liliana, another geometric typeface by Juan Pablo De Gregorio. When working with Liliana and Vicky, together with a compatible chromatic work, you can quickly generate very showy results especially when working on short texts. Vicky is optimal for being used in marketing assets, packaging design, magazines, branding, film captions, headlines, editorial, quotes, logos, corporate identity, and motion graphics. The italic version has a 8-degree slant. This feature is intended to convey a gorgeous feeling of tension, power, and agility. It’s very interesting to realize how the dynamism in the italic characters works when combined with the regular ones. The typeface has 9 weights, ranging from “thin” to “heavy”, and two versions: "regular" and "italic". Its 18 files contain 707 characters with ligatures, alternates, and swashes. It supports 219 Latin-based languages, spanning through 212 different countries. Vicky supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

The Thief Bird is an informal grotesque font. Although informal and grotesque may seem to be two quite different ideas, we have to dig into the origin of this typeface in order to understand the matter. The concept behind The Thief Bird was inspired by the adaptation that the vintage sign painters made when they took the grotesque style characters they saw in newspapers and magazines and reproduced them using a brush, aiming to make the prices of the products displayed on wooden boards stand out, as opposed to highlighting large headlines (such as the idea behind fonts like Franklin Gothic). The Thief Bird takes the language from sign painters and turns it into a font --this time around not aiming to set prices but to bring children stories to life. Thus, some legibility features from grotesque fonts were mixed with the brush calligraphy to add grace and zest to a font intended for children. The Thief Bird is a playful display font, with cheerful ligatures and alternate characters. It is really attractive for setting short paragraphs that tell stories for little people. The Thief Bird has one single weight and it’s ideal to be used in storybooks, candy packaging, films, toys, logos, labels, etc. The font has an extended set of 643 characters supporting 219 Latin languages. It has a complete set of small caps, sensitive cases, more than 30 pairs of ligatures, alternate characters and much more. This cool, informal and laid back typeface will be the perfect match for illustrations of fairy tales, comics for children and any product or publishing for the little ones. The Thief Bird supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

Waba Pronounced ‘Vah-bah’, is a font family that I designed. The name comes from a historical variation on the Estonian word ‘vaba’ – meaning ‘free’, or 'at liberty'. Back in 2017 I visited the Estonian Print & Paper Museum in Tartu to see its great collection of type (well worth a visit!). While I was there I saw some big woodcut blocks of Reklameschrift Herold - a super Art Nouveau/Jugendstil style display font. The Print & Paper Museum's collection covers both Latin and Cyrillic faces and as a foreigner in these parts I'm kind of fascinated by the exoticism of Cyrillic. How it is different but the same to the Latin letters I take for granted (as a humble Englander – no excuses). Not to mention, Jugendstil with its imitation of natural form, reverse-weights and looping-delicious curves (like you've left the window open all summer and the garden plants are climbing in). This mix of Jugendstil, Cyrillic letters and the beautiful historical border town of Tartu inspired me to start drawing Waba. Trimming the serifs from Herold, simplifying those angles and expanding the category of weights, then taking look at the magical logic of Berthold Block and doing a few things that just seemed right at the time – Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. Waba Monogram Waba also contains a monogram face, which allows you to create any monogramming latin and cyrillic. Simply type out your 2-3-4 characters in Waba Monogram, making sure Contextual Alternates is turned on them voila! Monograms can be customised manually using the OpenType select-pop-up in Adobe. Also included are a few Discretionary Ligatures for Mc, De, Von etc. Monograms work best when Contextual Alternates is turned on.

Woodmark JNL is a rough and somewhat irregular in letter form wood type based on some examples of William H. Page's "New Process No. 507". The eccentricity of the letters is reminiscent of many of the 1800's wood type designs, and is perfect for a rustic look within any retro project.

Harpagan is an experimental type family characterized by scalable construction from mono linear grotesk to display bold. I’ve designed this typeface after my trip to Kyrgyzstan, Uzbekistan and Kazachstan, where i’ve been impressed by the impact of arabic script in Asian style Cyrillics. The Harpagan type Family consist of 5 futuristic styles.

Pyragy is a display font with a classical vibe. It has beautifully crafted nine swashes. It’s genuine, interesting, and perfectly fits different design works, such as posters, book or album covers, digital spaces, or any other media. It supports various Latin-based languages and comes with powerful open-type and true-type features.

Amador. Designed in 2004 by Jim Parkinson. Originally released as a Type 1 font, Amador was refreshed (version2) and re-released as simple Open Type in 2012. A blackletter designed in the spirit of the Arts and Crafts movement. The works of Frederic Goudy and Rudolf Koch are also reflected in this design.

Hey, take a look at this! This typeface is just for fun, whenever you want to invite folks to take a gander, cast their eyes your way or otherwise check you out. Both versions include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

Walter Tiemann’s Fichte-Fraktur, released by Klingspor in 1934, has come to life again. This font contains the traditional long s which can be accessed by either the OT feature historical alternatives or by typing [alt] + b. Two framing elements can be reached by typing [alt] + shift + p and [alt] + p respectively.