This font was created with inspiration from the wood blocks carved for chapbooks, posters, calendars or newspaper in the late 1500’s and early 1600’s. We have tried to keep their innocence and rough style. It has been conceived as an homage to the “Pilgrim fathers” landing in Plymouth Bay in 1620 and celebrating the first Thanksgiving with Native Indians in autumn, 1621. The font, consisting of two English capital alphabets (so, without any accented characters): Initials and caps, and a lot of separate figures added, is especially improved by strong enlargments, 72 pts and more, and has very good results when printed.

Linotype Schachtelhalm is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The inspiration of German designer Ilka Kwiatkowski is not hard to figure out and the font carries the German name of the plant which was its model. The alphabet consists exclusively of capital letters with clear geometric basic forms. The font is meant for headlines in point sizes of 18 and larger. The details which make Linotype Schachtelhalm unique and true to its inspiration are however best seen in large point sizes, such as on posters, and Schachtelhalm is best combined with neutral fonts.

Asteric Vintage is a retro-vintage font family with an amazing set of ornaments. It comes in 3 different styles: Regular, Rough, Display, and also presents 26 beautiful and luxurious ornaments . The Rough Style has a characteristic that resembles rust on each character, thus creating results that seem strong and hard. The Display Style is very suitable for display, every work created with it becomes luxurious, wrapped in a classic atmosphere. The Regular Style is a style that has a clean character but still carries a classic scent that is thick and unique. This style is very suitable for use in magazines, books, newspapers, etc.

The Camunic language is an extinct language that was spoken in the 1st millennium BC in the Valcamonica and the Valtellina in Northern Italy, both in the Central Alps. The language is sparsely attested to an extent that makes any classification attempt uncertain - even the discussion of whether it should be considered a pre–Indo-European or an Indo-European language has remained indecisive. Among several suggestions, it has been hypothesized that Camunic is related to the Raetic language from the Tyrsenian language family, or to the Celtic languages. The extant corpus is carved on rock. There are at least 170 known inscriptions, the majority of which are only a few words long. The writing system used is a variant of the north-Etruscan alphabet, known as the Camunian alphabet or alphabet of Sondrio. Longer inscriptions show that Camunic writing used boustrophedon. Its name derives from the people of the Camunni, who lived during the Iron Age in Valcamonica and were the creators of many of the stone carvings in the area. Abecedariums found in Nadro and Piancogno have been dated to between 500 BC and 50 AD. The amount of material is insufficient to fully decipher the language. Some scholars think it may be related to Raetic and to Etruscan, but it is considered premature to make such affiliation. Other scholars suggest that Camunic could be a Celtic or another unknown Indo-European language.

In the late medieval period appeared a "semi-cursive" writing, the French "écriture de civilité". Quickly, it is carved and melted down in lead for printing. It is a very elegant running font, with numerous variants, both final than initial characters, many of the accented small characters were present in the model I was inspired by, after “Fournier Le jeune ”, in his catalogue "Modèles des caractères de l'imprimerie et des autres choses nécessaires au dit art nouvellement gravés par Simon-Pierre Fournier le jeune" published in 1742 in Paris. A render sheet, included in the font file, makes all characters easy to identify on keyboard. This font, very attractive and decorative may be used for web-site titles, posters and flyer designs, editing ancient texts, labels, greeting cards... and anything you want! It supports as easily enlargement as small size, remaining elegant and pretty.

Font designed from that used in Bamberg by Albrecht Pfister, in early years of printing, exactly for a book titled "Ackermann Von Böhmen" writen in old German by Johannes Von Tepl, and decorated by a lot of splendid colored carved woods. This font include "long s", naturelly, as typically medieval, but any abbreviated characters, and, curiously no german "ß", no more than "W". (The only one I did found where a hand drawn one.) In addition, the "k" have not a German gothic form. Added, the accented characters, no longer existing on this time, and capitals when was a lack. A render sheet, in the font file, makes all easy to identify on a keyboard. This font is used as variously as web-site titles, posters and fliers design, editing ancient texts... This font supports as easily enlargement as small size, remaining readable, original and beautiful, especially in capitals.

In the typeface family "Complements" two sets of characters complement each other, so much so that they work together much better than they work separately. The two sets are designed to alternate and this alternating is done automatically in applications that support the OpenType feature Contextual Alternatives. Complements is purely for show and display; it is a horrible choice for text. The spacing is very tight, which works well for very large point sizes. At smaller point sizes the user may want to increase character spacing. The typeface is monospaced. If the spacing between words is too large, substitute the non-breaking space (or the underscore) for the space character. Complements is geometric, bizarre, and hard to read, all characteristics that catch the reader's attention. Complements comes in two styles, regular and outline. The outline style was designed to be used in a layer over the regular style.

Palatino Sans was designed as part of a group of three font families: Palatino nova, Palatino Sans, and Palatino Sans Informal. Together these three families act as the fulfilment of Herman Zapf’s original Palatino idea. Palatino, which was born as a metal typeface in 1950, proved to be one of the 20th Century’s most popular designs. Not only is Palatino Sans a completely new typeface, it is also a completely new interpretation of the entire sans serif genre. Its letterforms are curved, rounded, and soft, not hard and industrial. The fonts in the Palatino Sans family include several OpenType features, such as an extended character set covering all Latin-based European languages, old style figures, small caps, fractions, ordinals, ligatures, alternates, and ornaments. Palatino Sans can be mixed well with Palatino and Palatino Sans Informal. Palatino® Sans font field guide including best practices, font pairings and alternatives.

American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists. A must-have for autograph collectors, desktop publishers, history buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous literary figures. This font includes signatures from the following literary figures: Joel Barlow, Charles Brockden Brown, J. Fenimore Cooper, Stephen Crane, Richard H. Dana Jr., Theodore Dreiser, W.C. Bryan, Timothy Dwight, T.S. Eliot, Ralph Waldo Emerson, William Faulkner, Eugene Field, Philip Freneau, Robert Frost, Hamlin Garland, Alexander Hamilton, Bret Harte, Nathaniel Hawthorne, Lafcadio Hearn, Ernest Hemingway, W.D. Howells, Henry James, John P. Kennedy, Washington Irving, Oliver Wendell Holmes, Julia Ward Howe, Francis Scott Key, Sidney Lanier, James Russell Lowell, Edgar Lee Masters, Cotton Mather, Herman Melville, George John Nathan, Henry W. Longfellow, Edna St. Vincent Millay, Eugene O'Neill, Thomas Paine, Edgar Allan Poe, J.K. Paulding, Sydney Porter (aka O. Henry), Carl Sandburg, Samuel Sewall, John Howard Payne, W.H. Prescott, W. Gilmore Simms, Captain John Smith, Gertrude Stein, Harriet Beecher Stowe, John Trumbull, Daniel Webster, Noah Webster, Samuel L. Clemens (aka Mark Twain), John G. Whittier, Thomas Wolfe, Henry D. Thoreau, Walt Whitman, Emily Dickinson, Jacqueline Susann, Louisa May Alcott, Wystan Hugh Auden, Pearl Buck, Edgar Rice Burroughs, F. Scott Fitzgerald, Erle Stanley Gardner, Horace Greeley, Zane Grey, Sinclair Lewis, Jack London, Norman Mailer, Ogden Nash, Beatrix Potter, Ezra Pound, John Steinbeck, Leon Uris, Thornton Wilder. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map. Article abstract: American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists in a high-quality font.

Steel Grrrder is a robust, industrial-style stencil typeface family consisting of six weights, from light to black, with corresponding italics. Suitable for all kinds of display purposes including posters, film titles, book covers, magazines, advertising, logos, packaging, signage and games design, Steel Grrrder is especially useful where the message needs some serious geometric bite behind it. Steel Grrrder is best categorised as a constructivist sans family. The character shapes are sharp, angular and slightly condensed - it’s a rigid, no-frills, no-curves, mega-metallic design. Legible? Not really. Readable? I think not. In your faceable? Absolutely! This is a tough display typeface, designed to work in the most demanding typographic situations. It won’t buckle under pressure or wilt when the heat’s turned up. Forged from carbon steel and wrapped in a layer of Graphene, Steel Grrrder is unashamedly rugged, a rock-hard pound-for-pound boxer specialising in thumping knockouts. The Steel Grrrrder extended family also includes a six-weight joining script and two display fonts, Groove & Nutjob - all designed to work with each other.

User is a monospaced type family with 30 styles, from Hairline to Bold, divided in Regular, Upright and Stencil, with five weights (Hairline, ExtraLight, Light, Medium and Bold) all with Cameo versions. Complexity and versatility are the keywords for this type family. Despite being a monospaced font, which means there's no kerning, all the glyphs were designed in order to sit comfortably in the 600 points width, a hard task because some glyphs are too narrow ('i' and 'l'), while others are too wide ('m' and 'w'), but they must fit the same width. The desire for keeping a comfortable readability in User was one of the key elements, therefore we designed several ligatures that fit both single and double space width, allowing to maintain a certain idea of proportional design. In this digital booklet you will find a detailed vision of the anatomy of the typefaces, the amount of characters available, the styles and weights, along with a series of features, specially designed to make User a very versatile and usable type system.

User is a monospaced type family with 30 styles, from Hairline to Bold, divided in Regular, Upright and Stencil, with five weights (Hairline, ExtraLight, Light, Medium and Bold) all with Cameo versions. Complexity and versatility are the keywords for this type family. Despite being a monospaced font, which means there's no kerning, all the glyphs were designed in order to sit comfortably in the 600 points width, a hard task because some glyphs are too narrow ('i' and 'l'), while others are too wide ('m' and 'w'), but they must fit the same width. The desire for keeping a comfortable readability in User was one of the key elements, therefore we designed several ligatures that fit both single and double space width, allowing to maintain a certain idea of proportional design. In this digital booklet you will find a detailed vision of the anatomy of the typefaces, the amount of characters available, the styles and weights, along with a series of features, specially designed to make User a very versatile and usable type system.

Melodi is the result of years of working with hand made types on my designs. Every time I draw the letters and words that I need for every design piece. One day I decided to go serious and make a real type of it and “Melodi” is the result of this work. It’s a calligraphic font, built using a regular stroke, and carefully crafted to have nice joins between all the letters. It has some playful but stylish capitals that brings lot of personality to the font. It work super nice either in lowercase writing as in all-caps texts. It looks specially good on lists of words or small sentences. Melodi is a playful but very versatile font, it can be used in lots of different scenarios. From creating a logo, writing the tittles of a catalogue or use it in a poster combined with other types (it work really well as counter point of more classical types) to motion graphics animations or advertising work. It can be cute but it also can do hard work!

User is a monospaced type family with 30 styles, from Hairline to Bold, divided in Regular, Upright and Stencil, with five weights (Hairline, ExtraLight, Light, Medium and Bold) all with Cameo versions. Complexity and versatility are the keywords for this type family. Despite being a monospaced font, which means there's no kerning, all the glyphs were designed in order to sit comfortably in the 600 points width, a hard task because some glyphs are too narrow ('i' and 'l'), while others are too wide ('m' and 'w'), but they must fit the same width. The desire for keeping a comfortable readability in User was one of the key elements, therefore we designed several ligatures that fit both single and double space width, allowing to maintain a certain idea of proportional design. In this digital booklet you will find a detailed vision of the anatomy of the typefaces, the amount of characters available, the styles and weights, along with a series of features, specially designed to make User a very versatile and usable type system.

Vaccine is a slab serif font family with a mixture of the usual and one-sided serifs. We call it ‘semi semi slab serif’. Serifs and terminals have soft rounded shapes, but stem junctions on the contrary use hard constructions. Such combination of basic design features makes the font distinct and strong in a setting and delicate and soft in appearance. This design peculiarity, together with low contrast and strong serifs, produces the qualities needed for using the font in small sizes, in low quality print, and in bad reading conditions. Vaccine got modern stylish design and has a prominent place in the set of popular faces. The family consists of 10 members - five weights with the corresponding italics. It can be used in a wide range of applications - magazines, advertising, corporate identity, urban navigation, packaging, children books, etc. Design by Manvel Shmavonyan with the help of Gayane Bagdasaryan as a consultant. Released by ParaType in 2013.

This family was inspired from the French edition of Hypnerotomachie de Poliphile ("The Strife of Love in a Dream") attributed to Francesco Colonna, 1467 printed in 1546 in Paris by Jacques Kerver. He was using a Garamond set (look at our 1592 GLC Garamond), including two styles: Normal and Italic (Normal carved by Claude Garamond, Italic we don't know; it was an Italic pattern very often in use in Paris at that time). We have modified the slant angle of the Capitals used with Italics because the Normal capitals were used in both styles in the original. The present font includes all of the specific latin abbreviations and ligatures used in this edition (with a few differences between the two styles). Added are the accented characters and a few others not in use in this early period of printing. Decorated letters such as 1512 Initials, 1550 Arabesques, 1565 Venetian, or 1584 Rinceau can be used with this family without anachronism.

The Bitstream version of Trump Mediaeval of Linotype, 1954-60, by Georg Trump, a prolific German type designer. It seems to be his best typeface. It has a vigorous and assumed oldstyle roman and italic that is the sloped roman, except for the letters a, e, f. With its crisp angularity and wedge-shapes serifs, Trump Mediaeval appears carved in stone. It is a strong text typeface that is highly legible and especially useful for low-resolution output. It is useful in display work too. Cyrillic version developed for ParaType by Vladimir Yefimov and Isabella Chaeva and released in 2010. Cyrillic italics maintain the main feature of Trump Mediaeval to be the sloped roman, except for the letters г, д, и, й, n, т. There are old style figures, additional ligatures and fractions available at all styles and small caps at the Roman 55. Black style was added in 2011 by Vladimir Yefimov.

Death angel has a strong and aggressive look with crisp, sharp lines. This font has hard angles and leans slightly towards the vertical, giving it a sharp, scary feel. accompanied by additional ornaments that you can custom style yourself. can be applied like, t-shirt design, product design group name, quotation etc. Note: For how to use this font, you can visit Ryan creattive youtube, or the link below; https://youtu.be/8XxjuAcXlbk FEATURES; -Uppercase, -Support Foreign, Numbers and Punctuation. -Ornaments. -Works on PC. -Simple installation. -Accessible in Adobe Illustrator, Adobe Photoshop. Adobe InDesign, it even works in Microsoft Word. -Fully accessible without additional design software. Death angel is coded with Unicode PUA, which allows full access to all additional characters without having to design any special software. Mac users can use the Font book, and Windows users can use the Character map to view and copy any extra characters to paste into your favorite text editor/app. thank you for visiting ;)

OCR-A was originally designed in 1968 as a machine-readable alphabet. Its functionality was its most important element, instead of its design. Over the following decades, the typeface has become popular in the design world nevertheless. But typographically pleasing results are often hard to come by, due to the original design’s “non-design design”, as well as its undeveloped character set. In 2006, Miriam Röttgers revised and extended OCR-A, creating OCR A Tribute. OCR A Tribute is a typeface family comprising of two versions: one in which the glyphs have been proportionally-spaced, and another that is monospaced. In the monospaced version, all glyphs have the same width, like the letters in the original OCR-A font do. Both versions of OCR A Tribute contain complete character sets and expert glyphs, as well as lining and old style figures. Now you can rest easy, and finally use this classic design for display purposes and headlines!

Chop chop! VLNL Cleaver is an important tool in the Vette Letters’ kitchen. It’s a butcher knife of a font. Razor sharp, ultra heavy and with pointy slanted serifs. At first glance it seems straight-lined, but a closer look revails that all straight lines are curved inward slightly, which enhances the sharp image even more. Cleaver was originally designed by DBXL for cutting meat - hell, it even hacks right through bone. It can easily splice a chicken in one slash or seperate ribs, just like that. You can also very well use it to chop up hard vegetables like pumpkin or squash on the chopping block. It gets better, the opposite blunt side can be deployed to crush ingredients like garlic, nuts or spices like black pepper. You could use a grinder, but with Cleaver it’s more fun, isn’t it? VLNL Cleaver is suitable to give a sharp edge to flyers, posters, logos (Heavy metal bands and other) or magazine headlines.

Palatino Sans Informal was designed as part of a group of three font families: Palatino nova, Palatino Sans, and Palatino Sans Informal. Together these three families act as the fulfilment of Herman Zapf’s original Palatino idea. Palatino, which was born as a metal typeface in 1950, proved to be one of the 20th Century’s most popular designs. Not only is Palatino Sans Informal a completely new typeface, it is also a completely new interpretation of the entire sans serif genre. Its letterforms are curved, rounded, and soft, not hard and industrial. In comparison with Palatino Sans, Palatino Sans Informal offers eccentricities that are somewhat artistic and more individual looking. The fonts in the Palatino Sans Informal family include several OpenType features, such as an extended character set covering all Latin-based European languages, old style figures, small caps, fractions, ordinals, ligatures, alternates, and ornaments. Palatino Sans Informal can be mixed well with Palatino and Palatino Sans.

Italic type was invented by Aldus Manutius in 1499 or 1501, first, before to be a style name, it was a plain font familly name. This Italique style font was inspired from these who was used by Jean de Tournes in Lyon (France) to print La mÈtamorphose d'Ovide figurÈe, a splendid book with numerous gothic style wood carved pictures. The original font contains almost all modern usual characters except accented ones, no longer in use on that time. They have been added, with some others, with respect for the original design. . A render sheet, enclosed in file, help to identify various others unusual letters on keyboard. It is used as successfuly as web-site titles, posters and fliers design, editing ancien texts or greeting cards, invitations, gastronomic menus... and much more, as a very decorative and elegant font... It supports easily as enlargement as small size, remaining clear and easy to read from 8 or 9 points to 72 and more, particularly on prints.

"VTF League" is a fully-kerned, hard working, 14-font athletic block display family. Its letterforms feature a synthesis of heavy verticals and lighter horizontals that create a steady visual rhythm, and chiseled terminals to help establish a competitive personality. Although developed for sports branding and similar projects, "VTF League" was inspired by the harmonized mix of sturdy, industrialized, no-nonsense typefaces and the brand uniqueness of local distilleries around Eastern Tennessee during a week-long moonshine tour in February 2018. As of July 2019, "VTF League" has been redeveloped to include a complete alphabet of uppercase, lowercase, and small cap alternates with 7 weights and oblique style variants for each. Enjoy!

Introducing Manly Beard , the typewriter font. Typewriter font is a timeless and iconic typeface, seamlessly bridges the realms of nostalgia and functionality. Inspired by the mechanical simplicity of traditional typewriters, this font exudes a distinct charm that harks back to an era when the written word was synonymous with the rhythmic clatter of keys striking paper. Characterized by monospacing, each letter and symbol occupies the same amount of horizontal space, mirroring the uniformity of characters produced by the typewriter's fixed-width mechanical arms. The result is a text that maintains a deliberate and organized appearance, evoking a sense of order and precision. We're honored and proud if Manly Beard can be the part of your special masterpiece. Thankyou! :)

Other guys may imitate him, but the original is still the greatest! Get in with the In Crowd and check out the font created by Mister Fontastic for Dave Gibbons Original Graphic Novel, The, ah, The Originals. Yes, Dave Gibbons now comes in lower case, it's not just what he does when he gets back from the off license. Be sure and pick up The Originals from Amazon -- now available in paperback, and probably still available as a hard case, much like Dave. After the crack about the case of beer above, I'm guessing you'll find me with a broken spine in the remainder pile. See the family related to Dave Gibbons Lower: Dave Gibbons Journal & Dave Gibbons .

This Font is born basing itself on several standard typographic models. Inspired by our calligraphic drawings, the idea was to synthesize these many shapes into a unique font that can be used commonly. The slab base has been gradually humanized. The serifs have been carved, refined, rounded off, in order to galvanize the font and ease the task of reading in lower case. The angle of attack of the round letters is an echo of the 15 Century typographic heritage. It was important for us to create an expressive and humanized font, which could also be used for edition. The purpose was to confront the Ancient typographic canon of beauty with some funny and fancyful elements.

Pill Gothic walks the tightrope between a heads down, hard working, utilitarian sans and something that stands out, saying, "Look at me!" Designers looking for a type that will work in blocks of text for callouts, captions and headlines will find that unique balance with Pill. Pill Gothic asks the question: what is the effect of a few truly unique characters on the meaning of a type? In particular, the 'a' and the 'g', while relating strongly to the forms of the other characters, stand out from the traditional milieu of sans serif types. The name Pill Gothic came from early studies of the condensed weight where the lower case characters had the shape of a pill capsule.

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.

When people usually think of wood type, images of bold and ornate designs reminiscent of the Old West or the Victorian Era come to mind. In truth, wood type was manufactured well into the late 20th century, and only fell out of favor when the letterpress was replaced by the offset press and computerized typesetting. Although there are hard-core collectors who have started a small resurgence in the preservation and use of wood type, it's the digital interpretations of these classic faces that see the most use in today's electronic layout work. Deco Wood Type JNL reinterprets one of these later designs, a bold sans with a decidedly Art Deco influence.

Introducing Motobreath, the bold typeface that is sure to turn heads. This font is inspired by the energy and power of hard rock music and the thrill of the racing car scene. With Motobreath as your secret weapon, you'll instantly add excitement and attitude to any design project. The simple angles yet energetic lines give this typeface an unmistakable edge that sets it apart from other fonts on the market. Whether you're looking to create a bold headline that demands attention or a logotype that conveys strength and power, Motobreath has got you covered. Motobreath features : Standard Latin Numbers, symbols, and punctuations Multilingual Support. Fully accessible without additional design software Simple Installations Works on PC & Mac Thank You.

Acklebury is a chunky, reverse contrast, slab-serif typeface available in two styles. It has heaps of personality, plenty of open type features, and a whole host of special characters and dingbats. Although it's drawn from historical sources, Acklebury is not a straight revival, rather more of an homage to the many, varied, extended lining figures of the late 1800's. Acklebury celebrates the once labelled 'hideous' combination of wide rounded forms and hard slab serifs. Only using modern type technology to fix the spacing and kerning issues that would of been impossible with metal or wooden type. Acklebury is not a French Clarendon, neither is it really an Italienne... but it is phat, wide and hella funky.

Hopeless Diamond is a contemporary display typeface inspired by the sculptural muscle of 19th century carved lettering and the radical forms of the B-2 Spirit stealth bomber and the F-117 Nighthawk stealth strike aircraft. The typeface itself contains three different styles, each with an italic and an alternate character set that can be used to generate a number of interesting permutations. The name was taken from the derisive term that test pilots used for Have Blue, a late '70s stealth demonstration aircraft –and early prototype for the F-117— designed and built by Lockheed's Skunkworks division. Due to its unusual shape and departure from received aerodynamic wisdom, Have Blue was referred to as the ‘Hopeless Diamond’.

This font was created inspired from a handwritten copy of the "Brief story of the second journey in Canada" (1535) by French explorer Jacques Cartier. It is an early "Civilité" manual style, closely looking like the "Civilité" script font carved by Robert Granjon a few years later and still strongly influenced by blackletters forms, clearly visible in the capitals or long s, d, e, f or t forms. (Look at our "1557 Civilite Granjon Pro" and the latest "1638 Civilite Manual"). It is containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turquish diacritics. Historical forms, titling alternates and the numerous lower alternates or ligatures made the font looking like a real various hand.