Use elegant LD Eleanor Rae to add formal or shabby chic accents to your scrapbook layouts, handmade greeting cards and other creative projects.

LD Little Buggy is an enjoyable, outlined font that is perfect in adorning invitations, digital projects or just adding some flavor to a page.

LD Funky Chunky is a lighthearted, chunky font that's casual and perfect for some visual fun. They'd make a great team on your next project!

If you've got a secret to tell, or just crave a unique font for cool scrapbook journaling, "Dear Diary" will fit the bill. This true type font looks handwritten with tall uppercase letters, and small, narrower lowercase script. Have some fun with it!

LD Sidewalk Chalk is a fun, child-friendly font resembling the style of wacky sidewalk chalk.

Use LD Funky Scribble wherever you'd like to lighten the mood. It's handwritten look is so great for journaling, newsletters, etc. Have fun with Funky Scribble!

Hot Betty combines clean, modern lines with the fun of mixing it up a bit. Who says you can't substitute an uppercase for a lowercase? or vice versa? Go ahead...have some fun!

LD Count Fountula takes you back to Transylvania and this classic-themed font lets you celebrate this spooky season in style. Enjoy!

LD Castle Distressed is a antique style font with a fairytale feel.

LD Charlie Chunk is a scruffy and thick font with an outline style.

Celebrate the old American West with LD Santa Fe.

LD Verdant Leaves is a bold font with leafy designs sprouting from the thick lettering.

LD Platform Soul is a fun, retro font. It has great impact as a title and just adds a bit of unconventional 'hip' to any creative project.

Dress up your handmade holiday greeting cards, newsletters, programs, and party invitations with this vintage style true type font. It gives an old world feel to your Christmas paper creations.

LD Soccer Mom is a font made after the many moms supporting their kids in sports and other extracurricular activities.

This font represents the type style created by this very famous classic typewriter. Remington was considered the father of all typewriter companies.

Do the Monster Mash with DB Frank's Friends! Makes great Halloween party invitations, spooky adornments or fun additions to any scrapbook project. LD Frank's Friends Distressed is just in time for Halloween! This spookified font and it's distressed style makes it perfect for your Halloween party invitations, journaling, or adding a nice touch to your scrapbook pages.

Dress up your handmade greeting cards, newsletters, programs, scrapbook journaling, and other desktop publications with this vintage style true type font. It gives a Bohemian feel to your paper creations.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Futura Display was designed by Paul Renner in 1932. Its original German name was Futura Schlagzeile, which means “headline”, alluding to its suitability for display use. Its forcefulness and robustness have made it a widely used typeface in film posters, advertising, logos, and music covers. Futura is a Trademark of BauerTypes SL

Designed by Paul Renner and published in 1929. It shows an alternative method of giving maximum thickness to a font by being designed to resemble the use of a stencil. It was a very fashionable typeface during the avant-garde period. It is still an excellent typeface for display use. Futura is a Trademark of BauerTypes SL

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

The genuine Futura takes up Paul Renner’s earliest sketches and brings back to life the original stylistic alternatives of the letters a, g, m, and n. Another of its peculiarities is the curved ends of the j, l, and t. It retains its genetic heritage, maintaining a perfect geometry, but with a fresher air than ever. Futura is a Trademark of BauerTypes SL

For nearly 90 years, Paul Renner’s Futura has been as popular as it is versatile—from children’s books to fashion magazines to the plaque on the Moon. Futura is a typographic icon. Futura Now offers designers a chance to see Futura with fresh eyes. It’s more truly Futura-like than any digital version you’ve ever worked with. “It brings some much-needed humanity back to the world of geometric sans serifs,” says Steve Matteson, Monotype’s Creative Type Director who led the design team. “Despite its reputation as the ultimate modern typeface, Futura Now is surprisingly warm,” he explains. “It’s just as at home set next to a leafy tree as it is next to a stainless-steel table, because it skillfully navigates the border between super-clean geometry and humanist warmth.” Futura Now—the definitive Futura—contains 102 styles, including: new Headline and Text weights; new Script and Display weights and styles; and new decorative variants (outlines, inlines, shadows, and fill). Its contemporary alignment of names and weights makes the family easier to understand and use, and its comfortable Text and judicious Headline subfamilies provide instantly refined spacing. With a large Latin, Greek, and Cyrillic character-set, Futura Now serves a wider international creative community. Futura Now is available both as individual OpenType fonts and as a set of Variable fonts, delivering limitless styles in a tidy digital footprint.