Stencil Decor JNL is loaded with all kinds of antique designs, embellishments and borders to work well alongside your favorite stencil lettering to create a totally retro look. Of course, these designs also make beautiful additions to many other kinds of print and craft projects. PLEASE NOTE: The purchase of this font does not include the right to reproduce the images for resale as stand-alone products (including, but not limited to stencils, ink stamps, stickers, wallpaper, etc.). For this kind of use, contact Jeff Levine Fonts through the email address provided in the EULA to discuss special licensing options and fees.

Prospera was designed without reference to existing roman faces. In its initial form, development was partially supported by a grant from the National Endowment for the Arts (Design Project Grant), as a design for use on 'low-res' digital output devices. Early releases had simplified detail in cross-bars and serifs, and hand-tuned bitmaps. As an original design, Prospera draws on principles of letterform developed during my studies of lettercarving (in Wales with Ieuan Rees) and Roman proportion. The design is idiosyncratic, perhaps more akin to Gill's Perpetua than to the monotonous corporate flavors so prevalent today.

Wonder Brush is a display typographer's guilty pleasure. It's one of very few fonts ever made that can take intense abuse and still look natural. Partly based on a 1969 Friedrich Poppl design called Poppl Stretto, but considerably fused with ideas found in interwar magazine ad lettering and signage, Wonder Brush caters to the idea that most graphic designers would rather use design elements they can enjoy. When you spend your days being "challenged" and "creatively tested" and "communicating the message," you can definitely use a little bit of playtime. And this font gives you just that, playtime on the job. Wonder Brush appears to be a straightforward narrow upright brush script. But it really is made of malleable rubber. Take it into a program like Adobe Illustrator, set something, stretch or squeeze, shear or warp, slant or transform… just play with it like they used to do in the 70s and 80s. You will soon discover that this font really is a big old top hat, and it's up to you and your mischief to pull rabbits or geese out of it. A single font that allows you to emphasize content or manage space mechanically without affecting the integrity of the type setting. And if your playtime includes fiddling with OpenType features, you're in for a bonus treat: Wonder Brush comes with over 800 characters, including a lot of alternates and extended language support. So tweak away until your eyes cry with joy. The only rules are the ones you set, and even those are meant to be broken.

Iza W and Intellecta Design are proud to announce Invitation Script, a modern and clean revival of the classic work of the Portuguese master penman Manuel de Andrade de Figueiredo, whose work can be seen in “Nova Escola para aprender a ler, escrever, e contar (...)'' (1722). Invitation Script is the third script superfamily published by Intellecta Design, after Penabico and Van den Velde Script. Invitation Script has original letters designed by Iza W. Creative direction and core programming were provided by Paulo W. Chyrllene K assisted with some work on unusual and archaic styles, resulting in a special font - Invitation Script Archaic (soon available). Invitation started out from Andrade’s script style and evolved into a voluptuous script font family. The result is a typeface ideal for beautiful headings, signatures, art work typography, titles and short pieces of hand-lettered text. Invitation family includes two multi-table Opentype fonts, three supplementary fonts for ornaments and fleurons, and the Archaic font with some of the Andrade’s original characters. Embedded in the regular fonts are additional sets of letters. Over 40 variations are available for certain letters via the Special Sets Opentype table. The two regular versions of Invitation Script contains the following: (i) An extensive set of ligatures providing letterform variations that make eye-popping designs or simulate real handwriting. These are accessible via contextual alternates and other open-type features. (ii) Many stylistic alternates for each letter (upper and lowercase, accessed via the glyph palette, encoded in the ranges of the Special Set Opentype feature). Since there are over 1100 glyphs in each font, we suggest using the glyph palette. (iii) A set of ornaments and fleurons accessed with the glyph palette or using the Ornaments feature. Additional ornaments can be found in the two Invitation Script Ornaments fonts. (iv) Initial and final letters with artistic variations accessible using the initial and final form open-type features. (v) Major kerning work: over 6000 kerning pairs, hand-set to avoid collisions and to create intricate combinations of letters, using swashes and other resources. These powerful features are all accessible in InDesign, Illustrator, QuarkXpress and similar software. We recommend exploring the magic of this font using the glyph palette. Our sample illustrations and PDF brochures showcase the power and pizzazz of this calligraphic script. Let your imagination go wild and use Invitation Script in ways that Andrade could not have foreseen. In non-OpenType-savvy applications, Invitation Script is still an exceptionally beautiful calligraphic typeface that stands up to the competition. The regular fonts contains the complete Latin alphabet, including Central European, Vietnamese, Baltic and Turkish, with a full set of diacritics and punctuation marks. --- 1 FIGUEIREDO, Manuel de Andrade de, 1670-1735 Nova Escola para aprender a ler, escrever, e contar. Offerecida á Augusta Magestade do Senhor Dom Joaõ V. Rey de Portugal. Primeira parte / por Manoel de Andrade de Figueiredo, Mestre desta Arte nas cidades de Lisboa Occidental, e Oriental. - Lisboa Occidental: na Officina de Bernardo da Costa de Carvalho, Impressor do Serenissimo Senhor Infante, 1722. - [18], 156 p., 44 f. grav. a buril : il., ; 2º (31 cm)Engraved royal coat of arms supported by angels over the city of Lisbon, engraved portrait of the author (both of the foregoing by Bernard Picart), (12)ff., 156pp., engraved calligraphic section title, 44 engraved plates. Wood-engraved culs-de-lampe and lettrines. Sm. folio. “Andrade de Figueiredo was born in Espirito Santo, where his father was Governor of the ‘Capitania.’ The fine portrait is dated 1721 and is showing Figueiredo at the age of 48. He was an eminent calligrapher and a creator of the Portuguese handwriting until the reign of Don José I (ca. 1755). His work follows the style of the great Italian masters in its use of clubbed ascenders and descenders, and of Diaz Morante, the famous Spanish writing master, in its very elaborate show of command of hand. By his contemporaries, he was known as the ‘Morante portugues’” (Ekström). “Ce livre est un manuel, composé de quatre parties, destiné à apprendre à lire, à écrire, à conter ainsi que l’orthographe. Les planches comportent des examples d’écritures, d’alphabets et de textes ornés de remarquables traits de plume exécutés d’une main sûre et enjouée” (Jammes).

Introducing Dienstag Variable, the latest addition to insigne's popular Montag family of fonts! With its extended sans-serif style, Dienstag boasts a sleek and sophisticated look that's perfect for a wide range of projects. Whether you're designing a website, creating branding materials, or producing print publications, Dienstag's refined elegance is sure to make a lasting impression. Compared to Montag, Dienstag has a slightly more formal feel, thanks to its lack of rounded terminators. But that doesn't mean it's any less versatile – in fact, Dienstag's four original weights have now been expanded to ten, giving you even more flexibility in your designs. With OpenType features that include simplified versions of many characters, you can easily create unique and eye-catching titles that stand out from the crowd. But Dienstag is just one part of the larger Montag superfamily, which also includes Mittwoch, and Donnerstag. Each font in this collection offers its own unique style and flair, giving you a wealth of options to choose from when it comes to your next project. Whether you're looking for a bold and dynamic font or a more refined and understated style, you're sure to find the perfect fit in the Montag family. So why wait? Check out Dienstag and the rest of the Montag superfamily today, and start creating designs that are sure to captivate and inspire! With its elegant style and versatile functionality, Dienstag is the perfect choice for designers who demand the best.

Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. The resulting high contrast and spiky details make Kitsch excel in display uses, while a fine-tuned text version manages to keep at small sizes the dynamic expressivity of the design without sacrificing legibility. Both variants are designed in a wide range of weights (from the almost monolinear thin to the dense black), and are fully equipped with a extended character sets covering over two hundred languages that use latin, cyrillic and greek alphabets. Special care has been put in designing Kitsch italic letterforms, with the broad-nib movements referencing classical italian letterforms to add even more shades to your typographic palette. The resulting alternate letter shapes have also been included in the roman weights as Stylistic Alternates - part to the wide range of Open Type features (Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms) provided with all the 32 weights of Kitsch. Born for editorial and branding use, Kitsch is fashionable but solid, self-confident enough to look classic while ironic enough to be contemporary.

Gearing is a typeface that is widely associated with the extreme music genre of death metal. It is characterized by its dark and aggressive appearance, evoking a sense of brutality and chaos. The font is typically designed with sharp edges, bold and angular letterforms, and intricate or distorted shapes. The death metal font typically features strong upper and lowercase letter variations, often with sharp, exaggerated serifs or thorn-like spikes. These embellishments contribute to its menacing and threatening aesthetic. The letters may also have broken or damaged elements, giving them a weathered or decayed look. Though death metal fonts come in various styles and variations, they often prioritize legibility and impact over ease of reading. This means that certain parts of the letters may be missing or disconnected, making them appear jagged or incomplete. Ligatures, which are unique letter combinations, are sometimes included in the font to add a sense of continuity or artwork to the overall design. In terms of color, death metal fonts are commonly depicted in monochromatic shades such as black, grey, or dark red to maintain their sinister appearance. The color contrast often enhances the sharpness and intensity of the font, making it more visually striking. Due to its association with the underground music scene, the death metal font has become an essential element in album covers, band logos, posters, and merchandise. It effectively conveys the aggressive and rebellious spirit of the genre, becoming instantly recognizable to fans and enthusiasts.

Rosamund Cyrillic Script Font is an inky brush script with heavy downstrokes, and skinny loops, and upstrokes. It was made with my favorite brush pen and retains a playful handwritten look for all your designs and will be perfect for use in your projects, be it logos, signatures, labels, packaging design, or blog headlines. Also, it will look great in mugs, cards, gorgeous typographic designs, stationery, and much more. Rosamund Cyrillic Script contains a full set of uppercase letters and 2 full sets of lowercase letters, (standard and alternative), and 17 ligatures. Use alternate lowercase and double-letter ligatures to create a perfect hand-painted look in your creations. The Cyrillic part of the font includes a full set of gorgeous uppercase and lowercase letters, ligatures, numerals, a large range of punctuation. Rosamund Symbols is a font with over 50 unique, hand-drawn doodles and illustrations that can help to make your design awesome. A different symbol is assigned to every uppercase and lowercase standard character so you do not need graphics software just simply type the letter you need. Multilingual Support for 32 languages: Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu And Cyrillic glyphs support for Russian, Belorussian, Bulgarian, Ukrainian, and Kazakh languages. Works perfectly on the Canva platform. For Cricut & Silhouette recommended. Thanks!

Capitolium was designed in 1998 at the request of the Agenzia romana per la preparatione del Giubileo for the Jubilee of the Roman Catholic Church in 2000. This type design was the central part of the project for a wayfinding and information system to guide pilgrims and tourists through Rome. Capitolium also continues Rome’s almost uninterrupted two-thousand-year-old tradition of public lettering . It is a modern typeface for the twenty-first century and strongly related to the traditions of Rome. Soon after the completion of this project Unger began contemplating the possibility of bringing the atmosphere of this design to newspapers. Though Capitolium works well in most modern production processes and also on screens, it is too fragile for newsprint. For newspapers sturdier shapes were required as well as more characters to a line of text, and Capitolium News has a bigger x-height than Capitolium. Capitolium News is a thoroughly modern newsface, with classic letterforms linked to a strong tradition. Capitolium News for running text comes in the variations regular, italic, semibold, semibold italic, bold and bold italic. As is possible with most of Unger’s type designs, Capitolium News can be condensed and expanded without any harm to the letterforms. The update to this beautiful font family, Capitolium News, includes the addition of over 250 glyphs featuring full Latin A language support, new ligatures, 4 sets of numerals, arbitrary fractions and superiors/inferiors. Furthermore, kerning was added and fine tuned for better performance.

Grotesques can answer a really wide variety of design problems and go from small sizes to large without missing a beat. Vinila is Flora de Carvalho's take on the genre. The family’s multi-purpose intention comes from having 4 widths - from compressed to extended, each with 6 weights and obliques. Rhythm and music played an important part in the design of this font, which started off as the lettering for a Brazilian Music album. Its distinctiveness comes from having powerful ink traps that go from elegant and supple in the lighter styles to commanding and impactful in the heavier styles. A distinct rhythm is achieved, making it a strong face for editorial design, branding projects and so much more. Vinila is the ideal companion to expressive display faces, where it serves a supporting role with a marked presence. We use Vinila every day in our own brand identity. We've had some of the best designers use it and test it in many different environments, printed, digital, mobile and more (they really like it!). Also in the package, Vinila Variable is an experimental version of Vinila, where you can have a virtually infinite mix of weights, widths and slant, all from a single font file. Available when you license the complete family. Vinila pairs happily with our cheerful Manteiga , elegantly with our organic didone Tenez and mechanically with our monospaced Odisseia . What other matches can you think of?

The idea that mathematical precision and the supposed "purity" of geometric forms are part of the discourse of us graphic designers is not new. Studying typography for some time now and learning about all the small alterations and adjustments that this geometry undergoes to better adapt to the imperfect human eye, I found myself with a new way of seeing things. Compasso is, in a way, a result of my growth as a designer. Established and recognized fonts like Futura, Avenir, and their predecessors (including Tempo - published by the Ludlow foundry in the early 20th century) informed the result of Compasso at some level. Others opened my mind to possibilities. Mallory, Azo Sans, the font designed for Audi by Bold Monday, and many other contemporary sans-serif fonts that left me speechless are also responsible for details present in this font. From the first sketch, the family grew on both sides, gaining condensed and extended counterparts. From there - and from a brilliant insight from designer Nicole Rauen - I learned that Compasso was not about geometry. Compasso is about rhythm. It's about the rhythmic movement that provides a foundation, supports, and also makes you dance and swing. My musical taste is too eclectic, I can go from classical to funk in less than two songs on Spotify. Compasso is also eclectic. It's a font to take your project anywhere, a record to listen to on any occasion.

Fibra One looks like a “soft” version of the Fibra font, but it is actually more than that—the second part of its name suggests that it is a reinterpretation of the original typeface. While this new version maintains the overall structure of Fibra and influence of the Avant Garde font, its shapes are different from those found in its predecessor—Fibra One features both soft corners and smooth transition between curved and straight sections. This gives the font a more dynamic and playful personality. Fibra One keeps the original contrast between curves and straight lines in glyphs such as ’n’ and ‘h’ (not found in rounded glyphs such as ‘a’ and ‘d’); details of display characters (e.g. three upper terminals in ‘W’ and projection off the stem in ‘A’); and exaggerated terminal in ‘R’. All these features give Fibra One a strong personality—a typeface that ‘gives you the chills’. Fibra One was specially designed for display use. The font has a very generous x-height that allows for use in corporate text, thanks to its good readability. Fibra One comes with 2 subfamilies—a more ’normal’ Basic family, with a smaller amount of stylistic features, for use in subheadings or any other type of text that requires formality, and an Alt family that shows off the true potential of the font, making it the perfect choice for magazine headlines, posters and logotypes.

Lincoln Electric started its life as an in-house experimental film type Thomas Lincoln drew shortly after concluding his work as part of Herb Lubalin’s famed crew in the late 1960s,. The master alphabet was drawn on illustration boards using pen and ink and press-type lines. The typeface was initially made for use in the branding and promotional material of Lincoln’s new design outfit. This alphabet’s forms are a spin on Bifur, the all-cap deco face designed by Adolphe Mouron (known as Cassandre) in 1929, and published by the Deberny & Peignot foundry in France. Lincoln Electric evolves Cassandre’s idea further by constructing new shapes more in line with minimalist principles rather than art deco geometry — something clearly evident in Lincoln’s minuscules, which exhibit a clear connection to Bauhaus ideas More than 50 years after the typeface’s design, Thomas Lincoln found the original film alphabet tucked away in his archives and brought it over to Canada Type for digital retooling. The result is a modern and thoroughly elaborate set of fonts that belonging prominently in a 21st century designer’s toolbox. The following features are included in Lincoln Electric: • Three fonts for chromatic layering. • More than 1900 glyphs in each font. • Expanded Latin and Cyrillic character sets. • Small caps and Caps-to-small-caps. • Six different sets of stylistic alternates. • Ordinals and case-sensitive forms. For a showing of the stylistic set variations and a sample of demonstration of chromatic layering, please consult this PDF.

Introducing 'Afolkalips' a tribal display font. Inspired by hinterland culture in the world, especially Papua Tribe, Indonesia. The Papuan Culture has many native tribes based on their location, culture and different ancestors. The equation is, they have a culture of decorating the body with paint from plants. The motives are also diverse, but with the characteristics of firm lines. In addition to various line motifs, Papuan hinterland people also explore colors that distinguish one tribe from another. You can see it on face decoration, as well as their body parts. The tools they used to paint their faces were usually with wood or leaves. Clear lines are etched, producing a natural, rough and authoritative form. It is this form that inspires us in designing the 'Afolkalips' typeface. All-capitals font with strong strokes that very recommended for headline or display on a traditional theme. Complete with 50+ custom ligatures that give you more variations. Also featured with 28 accents. This font also has ornament swashes to give your design more tribal looks, you can use the swashes as a frame or decoration. Suitable for your design such as poster, flyer, t-shirt design, logo, magazine, signage, or billboard. Afolkalips is a minimalist-joyful font which is flexible to apply in bright theme or elegant style. What you'll get : - Uppercase - Lowercase - Numbers - Punctuations - Symbols - Stylistic alternates - Ligatures - Accents Hope you like it! Thank you for your support and happy designing!

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Lust Didone’s character set was expanded as well during the redraw and update, the Italics were separated and reimagined anew from the universal italics in the original offering. Lust Didone also includes the new Fine optical size with complementing Italics for each size as well. And, yes, more swashes. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Condell Bio is part of the bigger Condell family: a project that involves series of typographies and whose early conception and development began in 2006. Unlike its Poster version , with its excessive and eccentric forms, Condell Bio tries to adapt itself to a monolinear shape, but conserving at the same time the organic character of its forms and endings. In this way Condell Bio is able to expanse its typographical use fields to a vaster scale. Condell’s endings and organic strokes haven’t been conceived in a structural way but stylistically. This means that Condell’s high readability doesn’t change and its original personality and idiosyncrasy as well. Condell can be said the ideal typography for connoting the corporation and brand identity, because of its high readability; especially its “eatable” forms, who collects images of food, are easily adaptable to food industry. Condell is highly recommended for the following products groups: cleansers, dish soaps, toothpastes, all sorts of personal hygiene products (shampoos, soaps,..), industrial cleanser products and also for products which refer to its softness, volatility and smoothness. Condell’s soft forms and nice endings, inspired through spontaneous brush strokes, give to the typography a very peculiar pleasant connotation. Its Italic (10 degrees inclination) has been produced singularly and not automatically calculated by the software. Condell Bio is composed of 16 fonts: from thin to black, whose weights are in regular and italic. Each singular weight has 600 characters and is composed of 206 languages.

Fantastic ML is an exuberant Art Nouveau font. It was originally released as “Modern Style” by Fonderie G. Peignot & Fils, Paris, France sometime before 1903. Since “Le style moderne” was the generic French name for Art Nouveau, it is possible that someone decided a less generic name was needed. The typeface became known as Fantastic. Compared to conventional text letters, it is just that. Fantastic has a whimsical, architectural feel. The typeface reminds me of a cross between Hoffmann’s Palais Stoclet in Brussels and Gaudi’s Sagrada Familia church in Barcelona. The letterforms themselves are similar to those by Ludwig von Zumbusch on the cover of “Jugend” in March, 1896, but with the addition of serifs. Fantastic ML is a decorative, all-cap font intended for display use and functions best at 18 points or larger. There are a total of 306 glyphs. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. However, some older applications may only be able to access the Western Europe character set (1252). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS format and a TTF version which is in Open TT format. Use whichever works best for your applications.

A characteristic of the Minea font family is the achievement of the calligraphic handwriting effect. In addition to basic, simple letter forms, it contains a large number of additional stylistic alternatives and ligatures that, by combining and changing without repetition, give the effect of calligraphic writing. Some of these characters can be changed by automatically turning on a particular OpenType function, when ligatures replace the combination of letters that are part of them, the letter is replaced by a certain alternative when found in a given context, and capital letters are replaced with decorative initials. Letter swap functions can be used in all programs that support OpenType programming. Minea is an attractive font that is sleek, clean, feminine, sensual, glamorous, simple and very easy to read. The Minea font family, based on original calligraphic sketches, contains a total of six weights. Thin, regular and medium weights have ligatures and alternate letter shapes, which help make the syllable look like an authentic calligraphic print. Semi-bold, bold, and black weights contain only basic letter shapes. The font family contains Latin and Cyrillic. Includes Russian and Serbian alternative letter forms. The family of calligraphic fonts Minea can be used on various occasions, and is intended for use in print and online. Can be used in the realization of certain tasks, unusual advertisements, packaging and invitations, diplomas ... as well as for all purposes where this type of letter is needed.

Lust’s original masters were completely redrawn, expanded, with a new optical size added based on customer requests. Lust now sports 6 fonts, instead of the original 4: Standard, Display, Fine, and complementing Italics. The character set has been expanded as well to include more OpenType features and more swashes. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Our eye is able to join missing parts of worn letters back into undisturbed shapes. We tend to see things better than they really are. Thanks to this ability we ignore faults of those close to us as we can’t accept the fact that every once in a while we convene with an impaired entity. Typography is merely a man’s invention, hence imperfection and transience, albeit overlooked, are its key features. This typeface is based on worn-out letterings on tombstones in the St. Croce basilica in Florence. For hundreds of years, microscopic particles of marble are being taken away on the soles of visitors: the embossed figures become fossilised white clouds, fragments of inscriptions are nearing the limits of legibility. First missing are thin joins and serifs, then the main strokes finally slowly diminish into nothingness over time. Unlike an archaeologist, for whom even completely featureless stele is valuable, the typographer must capture the proper moment of wear, when the type is not too “new” but also not too much decimated. Such typeface is usable for catalogue jackets, invitations and posters. Calligraphy is a natural human trait. To write is to create characters of reasonable beauty and content, according to the nature of the writer. A natural characteristic of architecture is to create an aesthetic message very similar to the alphabet. A doric column, the gabled roof, the circle of the well plan: these are the basic shapes from which all text typeface is derived.

The characteristic ‘French face’ was originally made in 1899 under the supervision of Joseph Pinel. Thus, what was originally French 10 pt. Nº 2, got its present name. The Frenchman Joseph Pinel called himself a "typographical engineer", but was at the time employed as a type draughtsman at the Linotype Works in Altrincham. It appears that this and some other faces that he supervised, were, except for use on the Linotype, also meant for manufacturing matrices for the Dyotype. This composing machine was an invention of Pinel. The Dyotype was a rather complicated machine and consisted, like the Monotype, of two separate contraptions, a keyboard which produced a perforated paper ribbon and a casting machine which produced justified lines of movable type. Unlike the Monotype which has a square matrix carrier, the Dyotype had the matrices on a drum (in fact two drums, hence the name of the machine). A Pinel Diotype company was founded in Paris and a machine was built with the help of the printing press manufacturer Jules Derriey. As is often the case, a lack of sufficient capital prevented the commercializing of this ingenious composing machine. Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process. The result is a roman and italic, while the roman font also includes Small Caps

Addictive font duo is a sophisticated & contemporary, hand-made script font. With personal charms and character. allow you to create flowing hand-lettering.Addictive fonts are designed to be a winning combination. this font will perfect for many different project, Designed to feel comfortable with variety projects including advertising, campaigns, poster design, wedding, branding, logo, fashion, magazines, social media. Here is what you get in the Addictive package: 1. Addictive • A hand-made High quality script font containing upper & lowercase characters, numerals and a large range of punctuation + OpenType features (Ligatures&Alternates). 2. Addictive Caps • A bold hand-made brush font containing upper & lowercase characters, numerals and a large range of punctuation. Creates a perfect pairing contrast with the Addictive Script Both fonts Include multilingual support: English, Italian, French, Polish, German, Swedish, Spanish, Danish, Dutch, Portuguese, Norwegian, Malaya, Indonesian, Finnish, Filipino. Malaya. TTF and OTF files are included for both fonts. Access all OpenType features alternates&Ligatures, you need a program that supports OpenType features such as Adobe Illustrator, Adobe Photoshop, Microsoft word and Etc.. Thanks for looking If you have any questions about license or anything else,feel free to leave a comment or send me a message. I'm always more than happy to help:) hope you enjoy! Michael

Zombie Brush is a haunting script font that brings the undead to life with its eerie charm and brush-style appearance. Designed intentionally in large letters, this typeface commands attention and exudes a sense of horror and intrigue. Each letter is meticulously crafted with brush-like strokes, adding a touch of handcrafted artistry to the font. The brush-style appearance of this font evokes a sense of chaos and unpredictability, as if the letters were created by an unsteady hand under the influence of dark forces. The large size of the letters enhances the font's imposing presence, making it impossible to ignore. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Zombie Brush fits in headlines, logos, movie posters, flyers, branding materials, print media, editorial layouts, headers, and zombie-themed projects. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Say hello to Montgova! a lovely elegant calligraphy with adorable ornaments. more than 120 included Opentype Stylish Alternate letters and ligatures, allow you to mould your type design any way you like:) It also includes a fancy little bonus ornaments font. A delicate modern calligraphy script ideal for weddings, elegant branding like greeting cards, sublimation, wedding invitation, branding materials, business cards, quotes, posters, aheadings, signature, logos, t-shirt, letterhead, signage, lable, news, posters, badges and adding a lovely feel to your projects What's new ? This font is equipped with Latin pro. which covers various languages in the world with a wider range and can be used easily. For Opentype capable software ( Photoshop CC or any version of Illustrator/ Indesign), Montgova also comes with Opentype features such as access to all the alternate letters and double letter ligatures. 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. Don't forget to check out other cool fonts on our store and wait for new fonts. Follow our shop for upcoming updates including additional glyphs and language support. feel free to send me a message, comment, like and share. Thanks

Thrift is a beautifully curvaceous serif font with smooth curves and fine lines and plenty of OpenType features. Thrift is perfect for your next editorial, advertising, branding, book, or invitation project. Thrift Regular and Thrift Italic each include approximately 800 glyphs. Specific OpenType features include stylistic alternates, several stylistic sets with features like curved ascenders and descenders, multilingual support (including multiple currency symbols - for kicks I even included a Bitcoin symbol in there), standard and proportional oldstyle numbers, and four ampersand styles. It also includes 24 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!) 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 Thrift! Feel free to use the #upupcreative and #thriftfont tags to show me what you've been up to!

It can be a tough challenge to present the best display for your projects, especially in limited options of fonts. For that reason, let us introduce you to our display serif font to amaze your audience with your projects. Peach Lotus is a display serif font we created by mixing the classical serif elements with big, bold-sized letters for you to impress and attract your audience. On top of that, it gives you more artistic, creative touches as a result of the display font combinations. A display font with thickly-lined and high contrast capital letters will produce a prominent display to strengthen the impressions delivered. In addition, you can apply this font for big-sized texts to be legible. Also, you can enjoy the available features here. Features: Multilingual support PUA encoded Numerals and punctuations Peach Lotus fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The design of Beau Sans was inspired by Bernhard Gothic which is considered one of the first contemporary American sans serifs and was designed by Lucian Bernhard in the late 1920s. Panos Vassiliou came across this font while attempting to reduce the design elements of a text typeface, by introducing Bauhaus-like minimal forms to the characters. The first version was completed back in 2002 and introduced one year later in Parachute’s 3rd catalog, under the name PF Traffic. Some time later it was decided to make a few improvements but the project was so carried away that the new typeface which emerged needed urgently a new name. Beau Sans Pro is a modern sans-serif family of 16 fonts which includes true-italics. Just like all other Parachute fonts, it covers a broad range of languages by incorporating 3 major scripts i.e. Latin, Greek and Cyrillic in one font. Furthermore, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life. This typeface is totally recommended for titles and/or body text when you want to give a distinct and contemporary identity to a product or service.

Introducing Gadion – Psychedelic Typeface A Mesmerizing Display Font Gadion – Psychedelic Typeface is your gateway to a captivating and unconventional display typography experience. With its trippy and psychedelic vibes, it breaks free from the mundane and ensures your designs remain endlessly fascinating. A Splash of Psychedelic Creativity Gadion unleashes a burst of psychedelic creativity that’s perfect for making your displays truly captivating. Its unconventional design immediately draws attention, infusing an element of excitement into your projects. Endless Visual Delights Furthermore, with Gadion, every character is a visual delight. Its swirling, hypnotic patterns and vibrant colors ensure that your message stands out in a way that’s both engaging and unforgettable. Versatile Display Possibilities Moreover, Gadion’s versatility extends beyond traditional bounds. It’s not just a font; it’s an experience. Whether it’s event posters, album covers, or promotional materials, this typeface takes your display to a whole new dimension, offering a multitude of creative options. In Conclusion Gadion – Psychedelic Typeface offers a unique and visually stimulating journey for your display needs. Say goodbye to dull and ordinary, and embrace the extraordinary with this font. Let Gadion infuse your designs with psychedelic magic that captivates and mesmerizes your audience, ensuring they stay immersed in the trippy world you create.

Want to transport your audience to a world of wonder with your branding? Want your headings to spark happiness and engagement? Introducing Burnt Rose - A Modern Calligraphy Font. A modern and elegant handcrafted calligraphy font that’ll make your audience swoon and enhance your branding projects, printed materials, and website design. Every stroke and curve was created to capture the essence of elegance and style. Ideal for social media banners; posts, and ads, printed quotes, t-shirt designs, packaging, or even as a modern text overlay to any background image. Burnt Rose includes Ligature & Stylistic Sets as well as Multilingual Support to make your branding globally acceptable. Get ready to engage and captivate your audience with Burnt Rose. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Patrilya Script A New Romantic Script Calligraphy made with a touch of lovely and charming attraction that adds to the impression of a beautiful and elegant. a charming typeface and So beautiful on invitation like greeting cards, wedding invitation, branding materials, business cards, quotes, posters, headings, signature, logos, t-shirt, letterhead, signage, label, news, posters, badges and more Patrilya Script has a script typeface and extra letters and included floral ornaments that allows you to be more fancy and more extraordinary in designing. Patrilya Script requires no special software to use or access the alternate letters. You can even use Patrilya Script in basic writing apps like Word For those with Opentype capable software ( Photoshop CC or any version of Illustrator/ Indesign), Patrilya Script also comes with Opentype features such as access to all the alternate letters and double letter ligatures. 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. Don't forget to check out other cool fonts on our store and wait for new fonts. Follow our shop for upcoming updates including additional glyphs and language support. feel free to send me a message, comment, like and share. Thanks

Buryland Font is Handmade Script, Sans, Serif inspired by Retro and Modern hand lettering style, so you can use this font into any style of your design. Buryland Font has three styles for each font, Regular, Stamped, and Outline. Buryland Font also has a standard Multilingual Support. With bonus illustration in this package, this fonts are great for Logotype, Branding Design, Logo Design, Digital Lettering Arts, Instagram Design, T-Shirt/Apparel, Badge, Packaging, Poster, Magazine, Book Cover, Quotes, Signs, Advertising Design, and any design needs. Buryland Font Features : - Upper and Lowercase Standard Characters, Punctuation, Numerals - OpenType Features such as Standard Ligatures, Discretionary Ligatures and Stylistic Set (ss01 – ss10) - PUA Encoded Characters - Fully accessible without additional design software. - Includes a range of multilingual characters. You can access all those alternate characters by using a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7 or higher. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Mix and match the alternate characters to add an attractive message to your design. Need help? Please, Feel free to contact me by e-mail yyudhara@gmail.com for any question about my font, Extended License document and more. Good Luck and Have fun ! YdhraStudio

Being loyal to your same old font will make your designs plain and dull. You need a prominent font to live up your messages without losing the essence of the content itself. Time to welcome Hello Eiffel, a font to help you deliver your desired messages without omitting the whole design. Hello Eiffel is a display font in simple, yet interesting letter shapes with which you can strengthen your desired messages to deliver without distracting attention on the text content itself. Despite its simplicity, Hello Eiffel remains interesting in modern styles to enhance the design’s aesthetic value. Its letters are legible enough to be flexibly applicable for various text sizes, and it gives you a clipart as a bonus. You can enjoy the available features here as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Hello Eiffel fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

A font is a crucial element of a design, but it can be a complicated challenge to choose a proper font for your project. An improper design will likely damage your whole designs and make your hard work useless. That is why Big Mock is the perfect font for you. Big Mock is a display font with strong characters and unique styles to assist you to pop up your messages easily. It exists in uppercases and thick weights to show bold, prominent displays. The similar letters’ proportions and the low contrasts will affect the legibility rates. You can use such a font for big text sizes to be greatly legible. Big Mock gives you an extra clipart as a bonus. You can also make use of the available features here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Big Mock fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.