Write Now: Write Now is an elegant, informal, handwritten script font, developed from the designer's handwriting, and carefully crafted to create a flowing, legible image. The large, opulent capitals, with their loose loops and curves create a perfect foil for the more subdued lower case characters, presenting a strong but gentle message . Write Now is perfect for: -- invitations -- advertising material where an informal and personal mood is required -- greeting cards -- menus -- book covers Write Now comes in two styles, Write Now Regular and the delicate Write Now Thin. The font has been carefully letterspaced and kerned. A full character set (all upper and lower case characters, punctuation, numerals and accented characters) is present.

Reverie is a cheerful band of letters that bounce across the page and get together to create words in four weights. Generous spacing and a modest x-height project an airy typeface that's open but not frail. Quirky without being too whimsical. Use the regular weight for surprisingly readable text or put the light and heavy weights to use for decorative headlines and titles. Reverie OT is the follow-up to the popular Reverie. This version comes loaded with new features: ligatures, small caps, swash caps, a larger numeral set, more language glyphs, and a fourth, heavy weight. This all adds up to a vastly more functional and flexible family of fonts.

The font is largely undesigned, but is bound together by a thick connected band which forms the word-blocks. At the same time, parts of Urbanregent are very designed, glyphs have been re-designed to reflect changes in the way we speak and write. The exclamation mark is louder and more manic, because people tend to write two or three exclamation marks after each other anyway. The full stop is more stopping and the hyphen kicks you on to the next word. Kenn Munk's fonts are generally hard to use - Urbanregent is no exception, but a tip would be to start each word with a capital letter. Because Every Word Is Important.

A bit of happenstance and accident are always full of possibility — Richard Lipton’s Dunhill Script is based on observations of the work of his left-handed calligraphy students and then from a small detail generated by his own freehand sketching. Like his other script typefaces, Dunhill was born from the desire to achieve a certain visual drama. Many details show the pen at work, like the terminal shapes and the caps and ascenders. Dunhill also has a range of alternate stylistic glyphs and contextual features that can transform it into a connected script. It’s a great choice for editorial display or advertising and branding settings on its own or paired with a Roman sans or serif.

Wood Bonnet Antique No.7 is based on real vintage wood type blocks from Switzerland. The very distressed letters give a warm analogue vintage charm on printing. These kind of wood type letters were very common and often named by generic names like Roman, French or Antique followed by a catalog number. But these letters have some very quirky details hard to find else were. » pdf specimen « The font offers up to five glyph variations of all the Latin base letters, figures and some additional letters. An OpenType glyph-rotator is programmed to emulate the randomness of old school printing on live typing. All dingbats of the specimen file are included in the font data too.

Jatheedo is a typeface created with original handwriting that may anesthetize your eyes and give a wonderful and beautiful impression. This font is highly versatile in its use. Because of its strong character, this font is attractive when used alone, but it is also stunning when paired with sans or sans serif letters. So, what are you waiting for? Enjoy and give your project a unique appearance. This typeface was created with a natural touch of handwriting that has been developed to generate parts and compositions that meet your requirements. As a result, this typeface is ideal for crafts, children’s writing, adventure posters, food banner titles, wedding invitations, and logos for product packaging.

The Handel Gothic™ typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles.

Arlon makes it easy to give any brand or advertising a cool & futuristic look. Thanks to its spurless letterforms and some uncommonly shaped letters, this typeface creates a strong visual impact even in small sizes. Having generously rounded angles and terminals, Arlon also spreads warmth and friendliness. To sum up, Arlon communicates an affinity for technology – in a friendly way. The family contains a really wide span from thin to black and has many Opentype features as well as many numerical variations to offer, making it a versatile font. From Afrikaans via romanized Chinese through to Zulu: Arlon comes with 631 glyphs per font, covering more than 200 languages. Designed by Marc Lohner in 2018.

Broadways Beautiful is an enchanting handwritten font that captures the essence of elegance and grace. With its meticulously crafted letterforms, each stroke in Broadways flows seamlessly, exuding a timeless and sophisticated beauty. The gentle curves and delicate details of this font give it a handcrafted and personalized touch, making it a perfect choice for projects that demand a sense of refinement and charm. Broadways adds a touch of allure to wedding invitations, luxury branding, and artistic displays. Its versatility is evident in its ability to seamlessly adapt to various design contexts, infusing each project with a captivating and beautiful handwritten aesthetic. With Broadways, every character is a work of art, enhancing the visual appeal of any creative endeavor.

If you are looking for a font with very good readability, even with its square appearance and condensed design, Grandheron is for you. You should find attractive the design of some glyphs like those one: a,f,k,l,v,y and also AJKMNVXY to name a few. Grandheron could be use as well in small size as in huge size. You will certainly like its Thin or Light font which give an awsome effect for titles, subtitles, caption for magazines related to fashion, architecture or even cultural in general. You could easily mix Grandheron with serif typeface as Harfang Pro. There is no limit to create great designs with this large typeface family, so enjoy!

Mars Model is a font that's originated from a concept for a rock band. With its 5 fun styles, Mars Model gives your graphic work a futuristic look that is reminiscent of the warm look and touch of Arts & Crafts. This style of type is instantly associated with advertising and design for high-end products. Mars Model is an entirely hand-drawn font, perfectly vectorized and meticulously digitized for quality and readability. Also, the font can be used for a refined vintage feeling or an industrial and futuristic atmosphere. Mars Model is great for display, logos, branding, packaging, advertising, food, sports, titles, film, TV, and much more. Doesn't that sound perfect to you?

Sultania is a harmonic synthesis of the old characters’ suppleness and the resolute, clean design of modern typography. The rich in contrast calligraphic approach with thick and thin strokes is still visible and you can almost feel traces of ink on paper while it’s shapes in general, without serifs and any embellishments, proclaim its up-to-dateness swinging between roundness and rigor. Elegant, noble, yet still affected by traces of the handwritten script, Sultania is reminiscent of power, wealth, mind and culture. Sultania’s historical roots and it’s originality remind of oriental colors. A close Orient, at the gates of Europe, in which Latin characters are mixed with distant sounds. The Byzantium of the Sultans.

Novecento Carved is a layered font family. It is designed to be paired with the 2013 version of Novecento Sans , used as base layer. Each glyph of each style of Novecento Carved (around 18.000) was manually reviewed and adjusted to overcome the limitations of an automatic interpolation algorithm. The minimalism of its construction makes it super easy to achieve a bas-relief or engraving effect just switching luminosity values among the two layers (carved and sans). Novecento Carved was selected and displaying on Typodarium 2018, the 18th of June. Webfont usage: to make Novecento Sans and Carved to align properly, please apply these settings when generating your webfonts: Hinting = native; Line Height Adjustments = native.

Cantilever is a variable, 20 style display typeface designed by Stew Deane. The idea came from using variable type mechanics to create a typeface that became more than type — it's designed to be impactful, fill space and turn text into something graphic and visual. Being fixed-width (at whatever width you choose) means it is perfect for stacking, as well as stretching ultra wide. It's a typeface designed to take centre stage and own space. By using the variable sliders in your design software you can give your typography a bespoke, ownable aesthetic. The sliders in Cantilever are Weight and Width, and are designed for maximum impact in any space. Play around.

Last Bastion is a strong, resolute serif typeface. The original inspiration came from the idea of an impenetrable medieval fortress that has stood the test of time and defended generations of hardened soldiers. Large stone towers and fortifications are reflected in the font's bold stems. The sans serif font offers a more modern and clean look, while the Gothic font shows the typeface's darker side. All three fonts include alternates for all letters and numbers in both caps and small caps. Last Bastion lends itself to branding, billboards, signage and industry to name a few. The glyph set includes all languages covered in Basic Latin, Latin-1 Supplement and Latin Extended-A scripts.

Get the handwritten, labeled look you love with MIX LABEL – the perfect font for creating clean, thick designs. Inspired by the look of school supplies labeled with a Sharpie marker, this font is ideal for replicating the handwritten style of labels and addresses on mailers. Whether you’re looking to add a personal touch to your branding or simply want a unique font, MIX LABEL has got you covered. Don’t settle for boring, generic fonts – label your designs with MIX LABEL and stand out from the crowd. Includes the following characters: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@$#%^&*()`~♥❤✿•· ÷×+−±≈=≠≥≤[]‹›:;'",.|/?{}“”‘’-–—_ …©®™«»°¹²³ªº¡¿x₱¢€£¥§№† ÁÀÂÄÃÅĂĀĄÆĆĈČÇÐĐÉÈÊËĖĒĘĜĤIÍÌÎÏĪĮĴŁŃÑŇ ÓÒÔÖÕØŌŐŒŔŘŚŜŠȘŤȚÚÙÛÜŮŰŪŲẂẀŴÝŶŸŹẐŽŻÞ áàâäãåăāąæćĉčçðđéèêëėēęĝĥıíìîïīįĵłńñň óòôöõøōőœŕřśŝšșťțúùûüůűūųẃẁŵýŷÿźẑžżþß Discretionary Ligatures: bb dd ee gg kk ll mm nn oo pp tt

Kismet has the look of a modern, ornamental alphabet, but looks are deceiving: the typeface was designed by John F. Cumming in 1879. The basic forms are strictly constructed, most based on the form of a circle, a shape which also appears again and again in the ornamentation. Cumming decorated his figures generously with spiral elements and tiny circles in the middle of the letters. Characteristics which suggest the beginning of the Jugendstil are the floral designs and some individual forms, for example, T, M or P. Small, pointed serifs add a sobering element to all the flowery, oriental decoration. Used sparingly in headlines, the extravagant Kismet will be sure to attract attention.

From the depths of an antique civilization is born "Nahual" inspired by my ancestral Prehispanic Culture, with traits that allows it to mimetize itself, hours of painstaking dirty work with the only goal to show all it knows we want to see, to finally give the Jaguar "Serifclaw" attack. This is a display fontface, it comes in two types, "Claw" basically the text font, and "Copete" that are the construction pieces for every single glyph of the entire font, this last also has the negative spaces of some glyphs (a, e, o, A, B, O, for example) I include them but I prefer the font without them. Comments are welcome! rodrigonabo@gmail.com

Monolinear Vintage Elegance The Gimbel Script typeface was inspired by a monoline, semi-connected script from a 1930's holiday greeting card. From its ascenders and descenders that stretch high and low to its gentle curviness Gimbel Script exudes the elegance of a bygone era while standing on a thin line between formal and casual lettering styles. See the 5th graphic for a comprehensive character map preview. Gimbel Script Opentype features include: - Swash Alternates for an alternate M and N. - Stylistic Alternates & SS01-SS06 Stylesets for 151 varying forms. - 219 Ligatures for a smoother typesetting experience, along with 181 initial, middle and final forms. - Full set of Inferiors and Superiors for Limitless Fractions. - Proportional, Tabular and Oldstyle figure sets.

Zomsenso is an angular, semi-modular typeface that supports OpenType alternates. The angular part means that the entire* font uses only angular segments and shapes. The alternate glyph shapes are under Stylistic Set 01. This font includes Seven Segment display (U+E000 to U+E07F) and arbitrary fractions (U+E1nd, n=numerator; d=denominator) that are mapped to the Private Use Area, so users can easily insert them via Unicode input. You can combine these fractions with the superscript and subscript numerals to create more fractions. This font can be used for essays, signs, logos, posters, commercial projects, videos, and many more. *except the circles in the Geometric Shapes block, which are still round

Manuel, a simple, almost mathematically constructed typeface, includes stylistic alternates for a number of upper case characters. This comes in very helpful when designing logo letterings. Manuel(a) is a very charming, self-confident und exciting typeface design. The idea was to try to apply a given design criteria (also see Volker Schnebel's Marita and Martin fonts) to every single character. In other words, start with a character and develop all of the others from it. This is quite easy for some characters but extremely difficult for others. This process generates creativity and the characters move away from the initial constructed sketch. Together in a typeface, the individual characters are now all of a piece and character.

This font is really interesting for you to use in various sorts of your projects, your project will be good and draw a lot of people’s attention. Refinu san serif font with a unique shape but still comfortable and easy to read. This font is also quite versatile and simple to use, allowing you to complete your tasks swiftly. But, more importantly, using this typeface will ensure that your project is remembered by your entire audience. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

Although initially designed as a rational/geometric font, Triplex developed into one of Zuzana Licko's most intuitive typeface designs at the time. Its first extensive use was in Emigre magazine #14, a special issue devoted to Swiss designers published in 1990. Triplex was intended as a friendly substitute for Helvetica. The name Triplex refers to the three versions that make up the entire family; Triplex, Triplex Serif and Triplex Italic. Each version of the typeface comes in light, bold and extra bold. The italic was designed and drawn by type designer and sign painter John Downer, and was designed to work with both the serif and sans serif versions. See also Triplex Italic OT.

On October 12th 1976 a new basilica was inaugurated in honor and in gratitude to the Patron Saint, the Virgin of Guadalupe, loved by the Mexican people. This basilica was designed by the Mexican architect Pedro Ramírez Vázquez (died on April 16th 2012). It stands out by its hug spacious interior, generously decorated with bronze elements. The aesthetic value of these items even includes many signs and text inscriptions in a particular typeface and style, of which this font is a reinterpretation. The purpose of this project is to revival this eclesiastical written letter forms in bronze and taking them to digital format. I was inspired to this on my last trip to Mexico in September of 2012.

Straits is an oddball fun ALL-CAPS font, a modern take / re-imagining of some old Art Deco signage and a sister to my other font Penang. The font is available in 2 weights for now, a light and a medium. In general I think ALL-CAPS steal 26 characters from you, so each letter in each case is a little different, however subtly. This being an ALL-CAPS font I imagine it will work best in Headlines and other bold statements, but buy it and find out. The font is loaded with plenty of extras and glyphs. This was designed to be fun, so I hope you can have some with it.

This font was inspired by the “Cancellaresca moderna ” type, which was calligraphed by Francesco Periccioli (published in 1610 in Siena, Italy). It was entirely handwritten by the designer for each circumstance, using quill pen and medieval ink on a rough paper, with added characters as accented ones and a lot of ligatures with respect for the original design. This font includes “long s” and also a lot of ligatures as “ff”, “ffi” “fij” “pp”... It can be used for web-site titles, posters and flier designs, editing ancient texts or greeting cards, or as a very decorative and elegant font. This font retains its qualities and beauty over a wide range of sizes.

Acústica is a display font family designed by Carlos Fabian Camargo G. Its styles were designed to form words and phrases related to delicate and feminine contexts. Acústica Caps, Italic, Swashes and Ornaments are drawn investigations with flexible tip pen inspired by Didot capitals. All ideal for mixing with Acústica Script whose idea represents the volatile sound of a fine tip brush against rapid tracing paper. Its script path in width condensed lowercase and uppercase letters in loose horizontal proportions are generous between letters laced with long, agile and thin connecting strokes. Its script sensitivity is in Italian calligraphy with uninterrupted lines of cursive English. Acústica was selected at the Bienal Tipos Latinos 2014. Photos by http://www.desdeesteladodemimundo.blogspot.com

Holgada font family has been designed for Graviton Font Foundry by Pablo Balcells in 2020. It is a geometric sans serif typeface with refined rounded endings that provide a soft and friendly appearance. Its generic shapes make it suitable for any kind of project, text length and size. Thanks to its clear legibility, it can be used in long body texts in very small sizes, in big size headlines and everything in between. The rounded endings not only provide a particular softness when used in body text, but also a distinctive touch when used in display situations such as logos and headlines. Holgada consists of 12 styles, each containing small caps and glyph coverage for several languages.

Kondes is our "101 Dalmatians" – it's 101th release in our catalog! And it is the 1st one that belongs to variable typefaces. Kondes (which is made up word as mixture of "condensed" and "kondezovan" on Serbian) is simple, compact, straight-in-your-face sans serif family with 9 weights and 9 Italics. It was designed with purpose to serve and to be use in any project, from editorial to website. For example, Black weight could be used effectively as poster type, in big sizes while Regular fits perfectly as main webfont. Stem joining is done with generous ink trap that divides and opens letter contours, so letter breaths in smaller sizes. Contains extended Latin character set. Enjoy!

S E V A S T I A N - Seven Layered Fonts Sevastian Typefaces are coming for help the artist who want to create 3D lettering without special effects. Also you can use with different color, different style, and different combinations using 7 layer I've made. Font Naming are important for you to generate where at the top and where at bottom. Sevastian made it so easy because there is a number before the name like Sevastian - 01 inner until Sevastian - 07 3D Shadow. It means, the lowest number are must on top of them. As you can see on the display image I've been made, I use random combinations. So you can experiment what do you like most.

Vectory is a millennial generation serif font, made with a very soft touch. Vectory is a font family, it comes in 14 weights, namely; 7 upright weights and 7 sloping weights Multilingual support for various languages including: French, German, Spanish, Portuguese, Italian, Dutch, Finnish, Swedish, and more. Vectory works great in any branding, logos, magazines, films. The different weights give you a full range of whole hosts of applications, while the outlined fonts give a real modern feel to any project. OpenType features can be accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. can also be accessed through the character map.

ITC Photoplay is another gem from Nick Curtis. Unearthed from the 1927 edition of Samuel Welo's Studio Handbook for Artists and Advertisers, the design's original suggested use was for title and caption cards for silent movies. A monoweight design that bridges the gap between turn-of-the-century decorative type and Art Deco, ITC Photoplay is both casual and stylish. And, yes, the cap S" is supposed to look that that. To expand this already handy typeface's versatility, a Black weight has been added to the original design. Curtis has also created an array of alternate characters, a couple of conjunctions, and a handful of "bishop's fingers" to help make your point. ITC Photoplay is eminently suitable for all those occasions when you need to say, "Unhand that fair damsel, you dastardly cad!", and really mean it."

"País" is a contemporary and modern grotesque sans serif, inspired by the grotesques of the early 20th century, but more geometric and with a wider x-height than its referents; making it ideal for the current times. "País" comes in 2 versions, each with 9 weights, from thin to black, and matching italics, for a total of 36 fonts. The standard sans serif version is fresh, clean, and more ideally neutral. It's a perfect choice for editorial design, branding, headlines, or any other piece of graphic design. The "País Alt" version has more expressive and modern characters, with some giving it a much more playful image. It is ideal for logos, packaging, web and television use. País contains a total of 682 characters that make it possible to write in more than 200 Latin languages ​​and basic Cyrillic.

A feminine, graceful script whose thicker horizontals create a wave-like rhythm — hence the name. Seashore is loosely based on an "eccentric" (left-leaning) penmanship style of the late 19th century. Used mainly by professional "engrossers" in certificates and tributes, or by society ladies in their stationery and invitations, it sent a message of true refinement, as the style would have been only been mastered after the more common business, Spencerian, and standard ornamental styles. In fact, unusual script styles were in such demand that type foundries of the era exploded with metal-type knockoffs of increasing fanciness. Seashore includes a wide variety of swash capitals, alternate endings, and contextual ligatures, over 900 glyphs in all. Seashore is best used in short display settings — in names and addresses on formal invitations, in menus and food packaging, or fashion and beauty contexts.

This is the Viking font that I developed based on the letters in the Irk Bitig book, which is written with the brush line of the old Turkish runic alphabet, the information below. It was interesting work. Irk Bitig or Irq Bitig (Old Turkic: 𐰃𐰺𐰴 𐰋𐰃𐱅𐰃𐰏‎), known as the Book of Omens or Book of Divination in English, is a 9th-century manuscript book on divination that was discovered in the "Library Cave" of the Mogao Caves in Dunhuang, China, by Aurel Stein in 1907, and is now in the collection of the British Library in London, England. The book is written in Old Turkic using the Old Turkic script (also known as "Orkhon" or "Turkic runes"); it is the only known complete manuscript text written in the Old Turkic script. It is also an important source for early Turkic mythology.

Inspired by the Roman lettershapes that Asensio y Mejorada drew in 1780, Frontis is a text typeface that takes this reference just as a starting point. The delicate appearance of Neoclassical fonts becomes confidence in Frontis. The characters have a solid skeleton, and the text looks classy in the condensed half of the family. A style that shines especially at display sizes. A collection of vegetal motifs and some stylistic uppercase ligatures complete the character set. These extra shapes serve to frame and bring together all the weights and styles in the type family. The lapidary ligatures and the ornaments underline the 18th-century roots of the design. There is a connection between Frontis and those classic letters that were once engraved on stone. And yet, the design is daring enough to make it a perfect choice for contemporary use.

Livory is a serif type family of four fonts including small caps, 25 ornaments & 50 ligatures in each style. It was designed by Hannes von Döhren & Livius F. Dietzel between 2005 and 2010. Livory is influenced by the French Renaissance Antiquas from the 16th century. It has an organic look with a warm touch and was especially developed for long texts. With its melted corners and individual serifs, Livory has also a smooth and handcrafted appearance in display sizes. With almost 780 glyphs in each font, Livory is equipped for complex, professional typographic work. The OpenType fonts have an extended character set to support Central and Eastern European as well as Western European languages. Each font includes small caps, fractions, old style-, lining-, tabular numbers, scientific superior/inferior figures, ligatures, ornaments and a set of arrows.

Rigatoni is a didone display family with exceptional readability. Based on a German mid-century lettering specimen by Nerdinger, designer Alejandro Paul expanded the face into an extensive family, with 5 weights, italics, and a 2 weights stencil version. Its tall letterforms and sturdy serifs give it a noble bearing when set in all caps; in the lower case its large x-height and spacious counters imbue it with a welcoming tone. A plethora of alternate and swash characters let you create distinctive settings for identities, labels, titles, and headlines. Use the shorter ascender and descender variants for aesthetic effects, or to prevent collisions in tightly stacked text. Since we've imagined Rigatoni being used for restaurants, menus, and food packaging, Sudtipos asked to designer Esteban Diácono to create some 3D visualizations. Ale’s type has never looked saucier!

We produce original printing press letter fonts, for example from the journal Southern Literary Messenger (circa 1830 - 1870). The only one in the world. What makes our fonts so attractive to the eye, are the myriad imperfections. It's not an approximation to the printing-press letters--- these are the actual letters, complete with all their manifold differences. If you look closely you will notice that the letter 'e' say, each time it is printed, is slightly different. These differences arise from the mechanical action of the inked-wooden press on the paper, and cannot be faked by artificial means. The eye subconsciously picks up this text as the actual printing press letters. Edgar Allan Poe published many of his great works in the Southern Literary Messenger, as did many other great nineteenth century writers, ie. Henry Wadsworth Longfellow, Nathaniel Hawthorne &c.

Patzcuaro is a summer resort by a lake of the same name. It is situated 370 km west of Ciudad de Mexico and a visitor from Europe, on seeing it, will be reminded of the Austrian Rust or the South Bohemian Trebon. The town's colonial architecture is protected as a historical monument, the reddish-brown tint of the footings of the buildings, their white facades and even the type of lettering with red initials is prescribed - and these regulations are also complied with as far as cars are concerned. This colour scheme is splendid in combination with the rich gamut of greys of the stone window jambs, vaults, lintels and pillars. Joking apart, even the local petrol station is 16th-century in appearance. Patzcuaro Regular is a cosy, welcoming type face which is good for use on labels.