Schoonheid is based on the thick and thin Gothic typeface that was popular in the US during the first half of the 20th century. Schoonheid Contextual Capitals has more than 100 ligatures, alternatives, and special characters consisting of uppercase letters. Implementing alternative Contextual features makes it easier for all people to use. Hope you enjoy. Intuisi Creative

Demonic Rhapsody is a unique typeface inspired by Codex Gigas, featuring Gothic, handwritten glyphs. Perfect for adding mystique to projects such as book covers, album artwork, or unique branding. It's part of the Demonic Rhapsody NFT project, symbolizing marginalized voices. A narrative tool, it pairs well with minimalist typefaces for contrast or textured fonts for an immersive experience.

Dark Blades is an authentic gothic vintage font family of 4 fonts created for headers and text. Multilingual support (Latin Extended). Designed for: - Vintage branding (Clothes, Alcohol, Bikes, Games) - Horror - Music branding - Myth: Vampires, Zombie, Halloween, Werevolves, Magic, Fantasy - Medieval style Well use in vintage labels, headers & titles, Posters, Street Signs and other Outdoor, Package Design.

A 1905 poster for the Austrian National Highway by artist Gustav Jahn inspired the letterforms for this typeface. In the spirit of comity, Barnhart Brothers & Spindler's Publicity Gothic Initial Caps inspired the uppercase treatment. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

In an 1896 specimen catalog for American Type Founders there is a design called Geometric Gothic. The lettering style looks as if it’s ahead of its time; foreseeing the 1980s. With its squared characters, some pointed overhangs and modified character shapes, this type design is now available as Squared Off JNL, in both regular and oblique versions.

Fong Shay Noon JNL is a non-traditional approach to an Oriental-styled font as there are some letter forms with curves and others with straight lines. The name derives from a Chinese restaurant in North Miami Beach, Florida during the 1960s, which in turn took its name from a play on a Yiddish phrase.

Hairline display fonts are elegant and subtle with touch of luxury. They are the Champagne of type. Ambassador represents a classy typeface best suitable for magazines, cosmetics packaging, advertising or any kind of fine and sensitive design. The quality of the display-oriented spacing and kerning of this font is ensured by Igino Marini.

Hanglish transformed Korean character elements into an English font. Korean characters are the only characters in the world whose creator is known. It was created and announced on October 29, 1446 by King Sejong the Great so that the people could easily write and read the letters. It was created by arranging oriental calligraphic fonts.

The British Telegraph font family was inspired by classic headers of Britain newspapers from the middle of XX century. Classic look with three width – Light, Regular and Bold. Great for headers, signs or logos. Also, working well for text blocks. - The British Telegraph Light: Use it for text blocks, or for gently light header typographic. Try to make more wide tracking with capitals, it looks good. - The British Telegraph Regular: Great for simple message, quotes, subheaders (If the header is Bold) or advert slogans. - The British Telegraph Bold: Is a killing title buddy. Massive, strong, bold and in the same time – very gentle. Perfectly for main words, headers, signs or logo's. The British Telegraph has full glyph set with standard and discretionary ligatures (Open Type Features).

My youngest son Boris has his birthday in a week. He turns 8, and he loves to play with those Danish building blocks - you know what I’m talking about. Last year he developed an interest in Star Wars n(no idea how that came to be), so we bought him some Star Wars-themed blocks for his birthday. I am now watching the movies with him and it is fun to witness his enthusiasm. The only drawback is the fact that we now seem to have a Chewbacca in our home… Meowtant Kittens is a font I drew with a fineliner and then digitised. Of course the name was influenced by the movies I am watching with Boris, even though they don’t feature any Meowtant Kittens.

The Willgray family offers three options: A, B, and C, each equipped with 20 fonts. This versatile family is ideal for a wide range of applications, including signage, packaging, brand identity, software, editorial design, and web and screen design.

A decorative tech typeface, designed for use in broadcast station identities and animations (Wired TV), with a slight reference to Rand's Westinghouse logo, of which a huge sign was used as a dinner table in the corporate guest quarters.

Cubition font family was designed by Nikolay Savchuk. Cubition was created on base Everest Pro sans-serif typeface. It is brilliantly suited for graphic design and display use and perfect for brand identity, magazines, newspapers, books, websites, and advertising.

Our Guildford is based on the Stephenson Blake typeface, Guildford Sans. Guildford Sans is identical to Elegant Grotesque, the 1928-29 design by Hans Möhring. Guildford contains all the high-end features expected in a quality OpenType Pro font.

The German designer Emil Rudolf Weiss originally created Weiss Rundgotisch for the Bauer typefoundry in 1937. In their catalog for the typeface, Bauer began with this quote from Leonhard Wagner: The round gothic (rundgotisch) script is the most beautiful kind of script; she is called the mother and the queen of all the rest." While designing Weiss Rundgotisch, Weiss was inspired by Renaissance types cut by the Augsberg printer Erhard Ratdolt. Ratdolt had spent some time in Venice, which is most likely where he became familiar with round gothic letters. This sort of letterform was never as popular in Germany as Fraktur or Gotisch may have been, but round gothic types were used there for centuries to represent arts and craft feelings, as well as old-fashioned handwork. For a blackletter typeface, Weiss Rundgotisch is very similar to normal serif and sans serif designs, especially its uppercase letters, which seem to have some uncial influence in them as well. Therefore, Weiss Rundgotisch is more legible for contemporary readers, making this an excellent choice for anyone looking to set text, logos, or headlines with in blackletter. Weiss Rundgotisch was apparently quite a difficult typeface to design, even for a master designer like Weiss. He began work on the face in 1915; Weiss Rundgotisch's development took over 20 years to complete."

ROARRR! THE STYLES -Pantera Pro is the most complete style, and although its default look is mono-rhythmic it gets really playful and crazy like the examples of the posters by just activating the Decorative Ligatures button in the Open-type Panel of Adobe Illustrator. However, I recommend using also the Glyphs Panel because there you'll find much more variants per letter. Pantera Pro is in fact, coded in a way the combination of thicknesses will always look fantastic. -Pantera Black Left, and Pantera Black Right are actually “lite” versions of Pantera Pro: They have very little Open-Type code, so what you see here is what you get. Pantera Black Left has its left strokes thick, while Pantera Black Right has its right strokes thick. -Pantera White is a lovely member in this family that looks lighter and airy, hence its name. With the feature Standard Ligatures activated (liga) the font gets very playful. -Pantera Caps is based on sign painters lettering and since it follows the same pointed brush rules as the other styles, it matches perfectly. -Pantera Claws like its name suggests, is a set of icons that were done by our dear panther. THE STORY It is said that typography can never be as expressive as calligraphy, but sometimes it can get close enough. I tend to think that calligraphic trials, in order to work well as potential fonts, need first to go through very strict filters before going digital: While calligraphy is synonym of freedom (once its rules are mastered), type-design, in the other hand, has its battlefield a little tighter and tougher. When I practice pointed brush lettering, there are so many things happening on the paper. And most of them are delicious. The ones who know my work may see that although many of my fonts are very expressive, my handmade brush trials are much more lively than them. With that in mind, this time I tried to go further and rescue more of those things that are lost in the process of thinking type when first sketches are calligraphic. I wondered if I could create something wild, hence its name Panther, by understanding the randomness that sometimes calligraphy conveys and turning it to something systemic: With Pantera, I created an ordered disorder. Like it happens a lot in many kinds of lettering styles, in order to enrich the written word the scribe mixes the thickness of the strokes and the width of the letters. Like one of my favorite mentors say (1), they make thoughtful gestures Some lively strokes go down with a thick, while some do that with a thin. Some letters are very narrow, meaning some of them will need to be very wide to compensate. Why not?. The calligrapher is always thinking on the following letters, and he/she designs in his head the combination of thicks and thins before he/she executes them. He/she knows the playful rhythm the words will have before writing them. It takes time and skill to master this and achieve graceful results. Going back to the font, in Pantera, this combination of varying thicknesses and widths of letters were Open-Type coded so the user will see satisfactory results by just enabling or disabling some buttons on the glyphs panel. I'm very pleased with the result since it’s not very easy to find fonts which play with the words' rhythm like Pantera does, following of course, a strong calligraphic base. I believe that if you were on the prowl for innovative fonts, this is your chance to go wild and get Pantera! NOTES (1) Phrase by Yves Leterme. In fact, it’s the title of a book by him. EPILOGUE Esta fuente está dedicada a mi panterita

Hambut is a handwritten font that includes lots of cute dingbats to decorate your quotes, social media posts, greeting cards, etc. Make a combination of uppercase sans and lowercase scripts and design beautiful projects! Hair is available for various uses. You can use it for commercial projects, monetized social media posts, blogs, digital publications and branding.

A brush font with a script theme that can make your project maximized. Moreover, it is equipped with several attractive alternatives and swashes. Can be used in various print or digital media such as product packaging, content display, social media promotion, broadcasts and many more. Features: -Uppercase -Lowercase -Numeral -Punctuation -Multilingual -Alternate -Swash Don't hesitate to support now!

Hello, this is The Romance Island - Realistic Handwritten Monoline Display Font! This font designed so that users can use it more easily and make Monoline designs easier. The Romance Island is very suitable for use in various media such as; packaging, logos, labels, posters, shirt designs, bulletins, typography, and many other media, especially with Monoline look.

Poster Linear Natural sans serif font is simple but looks very futuristic and very stylish, it adds to your confidence to make your designs look bolder and modern. Perfect for stickers, media posts, social media statuses, magazines, books, covers, game covers, banners, wall magazines, sports shades, and more, plus a few families you can incorporate into your designs.

Razlug is a modern sans serif typeface. Consists of 6 weights and its italics. it is a clean font featuring a variety of sets from thin to bold making it versatile for use for branding, headlines, digital media, logos, more general text, posters, and print media. Inspired by mid geometric/technology fonts. Founded in 2021 by motif creatives.

A neat face with pronounced spur serifs which several foundries have already digitized. We like ours better though, because we have drawn a lowercase which was lacking in the original. Barnhart Bros. & Spindler of Chicago introduced this type in 1888.

Barnhart Bros. and Spindler called this Faust Text when they introduced it in 1898. A quarter of a century later, they brought back a number of obsolete faces and renamed them. This one became Missal Text in their 1923 catalog.

A decorative and fancy slice of the gay '90s (1890s that is). Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

LTC Ornaments Two is the first Lanston Ornament font which uses OpenType features to assist in decorative border creation. The ornaments themselves features designs of Fournier and other classic fleurons and ornaments whose origins date back to the earliest printers.

Crimes Times Six is a cool horror font, originally created with a chalk stick back in 2012, by Jonathan S Harris. The typeface design works very well in video games, movies and broadcasting, but also looks great on clothing and posters.

Introducing Rollo Classic Sans Serif Font Rollo Classic Sans Serif Font is a handmade Modern Victorian handlettering, which is combining modern and classic typography with some awesome alternates. Yes we back to early 1800s, bring classic touch on this decade.

A groovy, bold typeface that transports you back to the 70s and 80s. Its sleek curves and sharp angles evoke the spirit of neon signs and vintage design. Get ready to captivate with this striking font that exudes nostalgic coolness.

Hvala is a display typeface based on slab serif. All european languages are included. 'Hvala' means praise. Remember it when you design your graphics using my font. It's a pure magic to express your respects or/and expect them back.

Hardwood is a reworked foundry typeface from the 1930's, providing an interpretation of the Art Deco graphic style. It harkens back to the golden era of poster design and Hollywood movie marquees, while retaining superb legibility at virtually any size.

Blastered was originally inspired by an old horror movie poster - but I find it more laid back and less horrifying…but feel free to use Blastered for your next horror project and use the more than 300 interlocking ligatures! Wow!

Wasted Growth is a display font with a strong style is back. There are 2 styles, Regular & Blur. Suitable for merchandise designs, covers, posters and others. Features: Uppercase, Lowercase, Numeral, Punctuation & Multilingual. For any questions please contact me 🙂 Thanks!

This naïve script was discovered in a French printers' magazine from 1927. Its total lack of pretension makes it warm and inviting. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Back in the 1950s and 1960s a popular event was the sock hop - when kids would meet in the school gymnasium, kick off their shoes and dance to the popular records of the day. Sock Hop JNL recalls those simpler times.

Margin Notes font offers a natural handwriting look. It had imperfect, organic curves and off set lines that imitate natural hand written writing. Give this handwriting font a try with note-taking, organization or even a back to school poster.

Nothing is hidden in the simplistic forms and overt aesthetic of Anya Danilova’s Rezak font family. Rezak is not a type family directly from the digital world, but was inspired by the stout presence of cutting letters out of tangible material: paper, stone, and wood. With only a few cuts, the shapes remain dark and simple. With more cuts, the shapes become lighter and more defined, resulting in a dynamic type family not stuck within one specific category. The Black and medium weights began as one approach before separating into display and text categories. The four text weights were created through pendulum swings in design direction that experimented with contrast, angles, tangent redirections, and the amount of anomalies allowed. The text weights are vocal when set larger than ten points and subtle at smaller sizes. The tech-heavy Incised display style came last, employing a surprising range of trigonometric functions to make it behave exactly as desired. Its look can result in something distinctive and emotional or completely over-the-top. Most normal typefaces change only in thickness; Rezak changes in intention, highlighting the relationship between dark and light, presence and absence, what’s removed and what remains. Rezak’s Black and Incised display styles are like a shaft of light in reverse and are perfect in situations of impact: websites, headlines and large text, gaming, call-outs, posters, and packaging. The tone works for something from youthful or craft-oriented to organic and natural products. Try these two in logotypes, complex print layering, branding, and words-as-pattern for greater experimentation. The text styles are bold, energetic, well informed, and round out the family with four weights (Regular, Semibold, Bold, Extrabold) and matching italics for a family grand total of ten. These jaunty styles work well in children’s books, call-outs, movie titles, and subheads for myriad subjects such as architecture, coffee, nature, cooking, and other rough-and-tumble purposes. Rezak’s crunchy letters are meant to expose rough, daring, or dramatic text. A further benefit is that this family is not sequestered within one specific genre or script, so it can be easily interpreted for other scripts, such as its current Latin and extended Cyrillic which supports such neglected languages as Abkhaz, Itelmen, and Koryak. Rezak’s push toward creativity and innovation, with an eye on typography’s rich history, reinforces our foundry’s mission to publish invigorating forms at the highest function and widest applicability.

GreenCherry typeface is for regular texts. I have designed every glyph with kept perfection in mind. I also retained symmetry throughout all glyphs. They look very premium when placed together. The typeface has 3 fonts - Thin, Normal & Bold. Every font has 210 glyphs and supports Western European languages. It has essential OpenType features like Kerning and Hinting. Hence you can use it wherever you want. It works very well with print media and web media as well. This typeface is suitable for Websites, Apps, Blogs, Book Publication, Stationery, Signage, and other Printing media. I am sure you will enjoy this typeface.

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages