Transit Display is simply two fonts: Regular & Italic. It is an all uppercase based font that takes the grungy look that you love one step further by offering you that do it yourself eroded stamp look with a modern flair. Transit Display will work with any of your stylized design needs! Transit Display also has a larger character set for multilingual support. For a customized look to your works, switch between uppercase and lowercase for a change of grunge to the letters.

Wolverhampton is a new Neo-Victorian face from Greater Albion Typefounders. It's something of an example of starting with a small idea and running with it. This family of three typefaces (Regular, Small Capitals and Capitals) was inspired by a line of lettering seen on a late 19th Century enamel advertisement made by Chromo of Wolverhampton (hence the family name). The family grew, topsy-like, from a recreation of these initial fifteen capital letterforms to the three complete typefaces offered here. The three typefaces are ideal for advertising and poster work with a Victorian, Edwardian, or 'Steam-punk' theme. They would also be eminently suitable for signage inspired by the same eras or (as we've seen a number of our other typeface families prove very popular) for book covers of period related novels and historical works. Finally, these slender elegant display faces are just plain fun!

Having spent all of my teenage years in the 90s, it's no surprise that this very particular decade resonates so deeply in me. As a graphic designer, I still think the strongest visual languages of the last 50 years or so come from that time. Bold aggressive attitude is what most people remember from those designs. What they seem to forget—or, rather, to have completely ignored—is that some incredibly elegant and subtle styles emerged from those years. It still amazes me how they reflected so well the period in which they were conceived, taking style construction to the next level. Riff is a natural development of some of my thoughts about the 90s. Mixed with a very contemporary feel, it embodies several idiosyncrasies I absorbed over years of exposure to favorite design pieces, fonts, music, films and other cultural products that share the same spirit.

Raljon is a display typeface created by designer and lettering artist Mark Robinson. It is a collaboration between the Mmarkk and Teen-Beat Graphica visual design studios. This single font was created over a period of five years. Mark took great care in finessing each character and making sure that each character would stand on its own and yet simultaneously, be an integral part of the whole. The typeface is inspired by Gothic letterforms, horror novels, speed metal bands of the 1980s, techno and electronic music of the 1990s, and Washington, DC football teams whose stadiums lie in the Maryland suburbs. While it doesn’t have multiple weights, Raljon does have a deep depth and breadth. It has a seemingly endless amount of alternate characters and ligatures. There are nine letter Ms, eight letter As and Fs, seven Rs and Ts, and the list goes on. Even the figures have alternates.

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.

Claude Duflos was a French engraver and printmaker at the end of the 1600s. He produced a great number of beautiful plates, executed principally with the graver very neatly finished. At the base of his work we can appreciate his legible lettering carefully executed with his particular ductus. During this period three different hands were developed in France: Ronde (an script deriving from “Civilité”), “Lettre Italianne” and Bâtarde Coulée that is a modification of ronde. The hand of joined letters, which lent itself to a rapid writing, became a model for English round hand or copperplate style. CDuflos is our typographic interpretation of the lettering style produced by Claude Duflos. CDuflos is presented in two versions: Basic and Extended Pro, which include diacritics for Central European languages. The Pro version also comes with a set of decorative glyphs including ligatures, alternates and swashes, including terminal letters and a set of ornaments.

Fleete is a modern homage to the many late 19th century typefaces; often used for book titles, posters and newspaper headlines; which have an extreme contrast between hairline horizontal stems and serifs and heavy vertical stems. Greater Albion Typefounders have taken this basic idea, to be found across very many faces of the period and used just that one concept as the basis of a new typeface design, which manages to be elegant yet modern all at once. IF you need something for a section heading which stands out from body text, this is the font family for you. If you need headings on a poster or large scale web-page headings, this is the face you should try. If you need several weights of heading-no problem; Fleete comes in Regular, Bold and Shadowed, as well as a newly designed Sans Serif form.

Antoinette Monogrammes is a monogram font based on old embroideries in the early 20th century by Janon Co. This font includes Upright script capitals and Normal slanted script capitals and 24 fancy frames. By combining each letters and frames, you can make your own monogram. And Every letters and frames were added handwritten effect to make warm and handcrafted impression. How about making monogram for wedding card, scrap book, stamp, logo? Upright script capitals can be accessed by typing Uppercase keys(A, B, C ....) and Slanted script capitals by lowercase key(a, b, c ...). Frames are 0-9 and exclamation mark(!), at mark(@), number sign(#), dollar($), percent(%), ascii circumflex(^), ampersand(&), asterisk(*), left and right brackets(()), period(.), comma(,), less and greater(). You need to arrange and set the position manually to finish making monograms. Please use graphic applications such as adobe illustrator or photoshop but not microsoft word.

Ondine is one of the early typefaces of Adrian Frutiger. It looks as though it were written with a broad tipped pen, however, Frutiger actually cut the forms out of a piece of paper with scissors. The forms of Ondine are reminiscent of the humanist period, the high point of the Italian Renaissance text typefaces of the 15th century. This movement was centered in Florence, the base of the Humanist movement overall, and the home of a famous type school of the time. The main goal of the educated writers was to faithfully recreate the writing of the admired literary works, whose aesthetic was as important as their content. Ondine displays a regular and open character. Texts set in this typeface give the impression of being hundreds of years old. Ondine should be used in point sizes of 12 and larger and is best for short texts and headlines.

The best way to radicalize your typographic expression is to use Blackletter! Gothic calligraphy had been used throughout all historical periods without much of the principal development the Latin typefaces underwent. However, since the invention of movable type, even now its slight variations over time can be seen. Blackletters are always used where emotions are required, be it spiritual literature, romantic novels, decadent poetry or extreme music. Dracula is a typeface dedicated to classical horror. I started to draw its letters along with my illustrations for Argo publishers in spring 2017. I needed a specific typeface for book cover and chapter titles to emphasize the mysterious atmosphere of the text. Sharp teeth and claws on a thin blackletter skeleton shall remind of the early vampirism in literature. Its slightly narrowed face enhances a thrilling feel of anguish and despair, whereas the darkest cut may work well on funeral announcements.

The 1928 logotype for Sertal Toiletries consisted of a stylized woman's head, a very snaky S, and five fine, fat deco caps spelling out the rest of the brand name. From these five clues, designer Nick Curtis divined the rules" of the typeface and drew a complete alphabet, including a lower case. The result: ITC Scram Gravy. The finished product could be described as Bodoni on steroids. Tight curls in characters like the 'm,' 'r' and 'y' soften the lower case and give the design a light-hearted flavor. ITC Scram Gravy takes its name from one of many running gags in the screwball comic strip "Smokey Stover," which had folks alternately splitting their sides and scratching their heads from 1935 to 1973. Those familiar with Bill Holman's strip will recall Smokey's car, the Foomobile, and one of his famous nonsense declarations: "No foo-ling, that scram gravy ain't wavy.""

Salvatore is the neo-grotesque younger brother of Nutmeg type family. It comes with 36 weights that have been separated in two flavours. The first half is Salvatore normal, which has more neutral features; and the second one is Salvatore Roman, which has more versatility at the end of the characters. The name comes from the Mad Men character Salvatore Romano, who was a publisher in the mid 60s. In that period, grotesques typefaces ruled advertising, nevertheless, there wasn't a typeface that represented publishers as Salvatore Romano, that’s why we gave birth to this project. Designed with powerful OpenType features in mind, each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support and many more… Perfectly suited for graphic design and any display/text use. The 36 fonts are the first part of a larger Salvatore family. We’re proud to introduce: Salvatore.

Alta Mesa is a revival of an old type design from the 1800's that was sold by most of the type foundries in the US and Europe of that time period so it is difficult to know the foundry of origin. New with this version are the fill fonts and plain styles, the fill fonts may be used as stand alone fonts, however the letter spacing is much wider, the plain versions are recommended if you desire a solid black weight. The regular Fill font is in registration with the Regular and Open versions while the Fill L font is in registration with the L and Open L versions. This was a very charming font in its time which was heavily used on old billheads and letterheads. We're pleased to bring this type design, which hasn't been used for over 100 years, into the digital world today.

Rialto Script is inspired by old polish neon signs and their very imaginative and expressive lettering. Neon signs were designed by great Polish artists and architects during communistic times in Poland. A large number of alternates and swashes make every word unique, just like the neon signs were in this period. The typeface is designed to evolve as your type. It contains contextual alternates, basic and discretionary ligatures, initials and swashes. There are swashes for capitals, beginning and ending swashes in lowercase, plus dash swashes in lowercase. Lower and upper case contain a set of block letters which you can find by turning on Small Caps. Rialto Script is a monolinear display swashed script and came from dynamic and rhythmical handwriting. All of the glyphs sit slightly above the baseline with a slanted axis. Rialto is perfect for titles, logos, signs and of course, neon signs.

Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer’s Bernard Roman Extra Bold and ATF’s Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the ‘H’ particularly. Petrark was released about 1900 by the German foundry of Schelter & Giesecke of Leipzig and is one of the designs of the period that attempts to reconcile roman and blackletter traditions. Making a cameo appearance in this Multi-Lingual font is the Anglo-Saxon letter yogh (#729), which, along with the thorn and the eth, is always useful for preparing flyers in Old English. There are still pockets of resistance to the Norman French influence that washed up on England’s shores in 1066. This font stands with King Canute, seeking to hold back the tide (ignoring the fact that Canute was a Dane). Support the fight to preserve Anglo-Saxon culture. Buy Petrarka ML today. Petrarka Initials brings together the Petrarka upper case letters with a very sympatico Art Nouveau rendering of a female face.

Brandon Printed is based on the famous Brandon Grotesque typeface. It has an eroded, printed look with variations of every letter by using different styles. With several different styles like a shadowed version, an inline version and a double printed version you can create a lot of lovely combinations. The Brandon Printed package also contains a set with 95 Extras like arrows, catchwords, stars, emblems numbers & lines. Brandon Printed has a high level of detail, so it may process more slowly in some applications.

I don’t think I’m a capricious person, but right now, due to the enormous amount of renovation work on our home, I do get bad moods quite often! Capricious is a hand painted all-caps font: I used my favourite Chinese ink, a brush and very rough paper to get the desired ‘eroded’ effect. It is quite a heavy display font, so I wouldn’t really set a text in it, but it works really well for headlines, catching titles and products that need some pepper!

The 1960 British film “Beat Girl” (released in the U.S. as “Wild for Kicks”) was a typical [for its time] story of a teenage girl looking to have some fun by hanging out with SoHo beatniks and going against parental authority. One of the posters for the film features the title in a condensed slab serif stencil form, with eroded edges. The basic letter forms were smoothed out and cleaned up resulting in Jazz Beat Stencil JNL, which is available as in both regular and oblique versions.

Paulette is a script typeface, the capital letters are completely unpublished, some of them have a smile-similar ornament (A,F,O,H,Q,B,C,P,G), whereas minuscule letters are inspired to Edwardian font script. The font is very versatile and is very suitable for typographic compositions with large letters and for medium and small ones. It includes a complete series of internationals letters, 342 glyphs and 6 new ligatures. Paulette is an elegant letter and it's available in two versions, regular and eroded.

Have you seen that new font from Comicraft it's lovely isn't it all soft and spongy it fair warms the cockles of me heart Mrs Robinson at number forty three she has one she got it down at the store on the corner you know the Indian convenience open all night my Albert gets his Heineken down there late of an evening and you know what I saw all manner of strange people down there last week super heroes I think they were Blimey!

This typeface is inspired by the angular shapes of runes; the early writing of Northern European peoples. The letters have been given an eroded finish, as though they were carefully carved a thousand years ago, and weathered over time. This font includes at least two versions of every letter one simple, one more ornate, with all alternate characters for other European languages. The Alternates Font includes additional variations of some characters as well as Ligatures, astrological and elemental symbols. More Nordic symbols are available in the Valknut font.

Skip the font dilemma and meet your design hero – Meimidle! This collection packs a punch with 5 fonts in one buy. Enjoy 2 scripts and 3 sans- each rocking its own unique style! It's simplifying your design decisions! This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : 5 Script & 3 Sans Serif Uppercase & lowercase Numbers and punctuation Alternates & Ligatures Multilingual PUA encoded

The term starboard derives from the Old English steorbord, meaning the side on which the ship is steered. Before the steering wheel, boats were steered by an oar at the stern of the ship. Since most sailors were right handed, this is where you would find your steering oar! Starboard font is a rough, handmade, brushy kinda font. It was, of coarse, made with my favourite cheep brush and Chinese ink - resulting in a slightly eroded looking font. Starboard comes with all the trimmings, including double letter ligatures for the lower case.

Alisha is an expressive yet legible script face with a generous x-height and a equally generous complement of over 200 alternates and swash forms. Alisha retains the distinctive look of custom lettering with varied letterforms that are personable; yet polished and refined. Alisha is ideal for attracting buyers to product packaging, beckoning readers to headlines and hero graphics, or charming clients in identities and wordmarks. See what’s included! This font has been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here.

My kids have a tin box filled with crayon and pencil leftovers: bits and pieces that have fallen or broken off, but are still good enough to use. For me it is a treasure trove, as I often find a nice bit of crayon to use for a new font. In this case, I created Leftover Crayon. Leftover Crayon is a fat, crumbling and seriously eroded crayon font. Completely hand made, completely legible and full of character. Use it for your bedtime stories, product packaging and invitations. Comes filled to the brim with diacritics.

The Wild Bunch, also known as the Doolin–Dalton Gang, was a gang of outlaws that terrorized Kansas, Missouri, Arkansas, and Oklahoma Territory during the 1890s. They robbed banks, killed lawmen and held up trains. Of course its members were hunted down and 'wanted' posters, with that typical 'Wild West' font, appeared all over. Wild Bunch is a 'wanted poster' type font. It is an all caps font, but upper and lower case differ slightly. A set of alternate, non-eroded, glyphs for the lower case (including alternate numbers) completes this font.

The Hondo Grunge fonts are a collection of ultrabold eroded slab serif typefaces with a dynamic look and extended functionality. Accented with decorative and functional inktraps and complete with Slant and Backslant styles, this heavyweight has a high performance hardcore edge to it. Ideal for titling, poster work, logos, and small bits of copy. For the Opentype savvy, the Opentype version contains a complete alternate set of base characters, which by enabling contextual alternates option will force the typeface to continually alternate between the original & alternate character sets for a more spontaneous look.

A cast iron plaque from Bristol Temple Meads Station serves as inspiration for this antique font. The plaque commemorates the design contribution of Isambard Kingdom Brunel, who in March 1833 at only 27 was appointed chief engineer of the Great Western Railway, the line that links London to Bristol. This helped establish Brunel as one of the world’s leading engineers. Impressive achievements along the route include viaducts at Hanwell and Chippenham, Maidenhead Bridge, Box Tunnel and Bristol Temple Meads Station. Ironbridge evokes industrial heritage, gothic spookiness or eroded heavy metal.

Stupid Meeting is an all caps display sans that didn't quite get its full 8 hours of sleep. A lot of attitude went into the design process and it shows throughout the entire character set. From a distance it looks fairly pedestrian but the closer you get, the rougher it gets around the edges. It's very simple, yet extremely playful. This family is available in 3 different styles. Use Stupid Meeting for a cartoon, product packaging, or a logo. Try the Eroded version for menu lettering or a band poster. Caps only Fonts.

I used to be a frequent flyer; as a tour guide I often had 6 to 10 international flights per year. At the time I didn’t even think about the consequences of flying, as I loved my job and the job was all about travel. Now, with the planet in deplorable state, I try to keep flying to an utter minimum. I guess you call it ’shame of flying’… Frequent Flyer font is a nice, eroded, all caps font. It comes with multilingual support, so you may come across it during your travels.

Compagnon is a friend, a partner. This handmade display font will come in super handy when you are working on that book cover, or the packaging of a product. It will shine on posters and websites and it will keep you warm at night. I guess that last bit is an exaggeration… Compagnon comes in three distinct styles: a ‘regular’ version, which is a bit rough around the edges, a ‘dirty’ version, with a juicy eroded look and a polka dot version. All three have their accompanying italics.

In 1948, Mergenthaler Linotype released the first weights of Trade Gothic, designed by Jackson Burke. Over the next 12 years Burke, who was the company’s Director of Typographic Development from 1948 through 1963, continued to expand the family. Trade Gothic Next is the 2008 revision of Jackson Burke’s design. Developed over a prolonged period of time, the original Trade Gothic showed many inconsistencies. Under the direction of Linotype’s Type Director Akira Kobayashi, American type designer Tom Grace, a graduate of the MA Typeface Design in Reading, redesigned, revised and expand the Trade Gothic family. Many details were improved, such as the terminals and stroke endings, symbols, and the spacing and kerning. Moreover, there are newly added compressed widths and heavy weights perfect for setting even more powerful headlines. Trade Gothic Next brings more features and better quality for today’s demanding typographers. Trade Gothic Next® font field guide including best practices, font pairings and alternatives.

Kis Classico™ is named after the Hungarian monk Miklós Kis who traveled to Amsterdam at the end of the seventeenth century to learn the art of printing. Amsterdam was a center of printing and punchcutting, and Kis cut his own type there in about 1685. For centuries, Kis's type was wrongly attributed to Anton Janson, a Dutch punchcutter who worked in Leipzig in the seventeenth century. Most versions of this type still go by the name Janson. In 1993, the Italian/Swedish type designer Franko Luin completed Kis Classico, his own contemporary interpretation of the Kis types. About the Kis/Janson story, Luin says: If you understand Hungarian I recommend you read the monograph, 'Tótfalusi Kis Miklós' by György Haiman, published in 1972 by Magyar Helikon. It has hundreds of reproductions from his Amsterdam period and from the time when he was an established printer in Kolozsvár (today's Cluj in Romania)." Kis Classico has five weights, and is an admirable version of this classic type.

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.

Komu is the revival of a style of letters frequently used on billboards during the socialist period in the former Czechoslovakia. These were usually uppercase letters made of paper and covered with a layer of aluminum foil. People just had to pick the letters (that included a variety of widths and sizes) out from a box and pin them up on a styrofoam billboard, thus making it easy to announce any event. Komu consists of two styles. Version A is rather squarish and includes some weird characters (K, 5, narrow E, strange diacritics) while version B is more rounded with most letters equally wide (with the exception of E, F and L, which look really wide next to the rest). The optical disparity of the original letters was kept, so that some of them look slightly darker than the others. Komu is intended to be used on posters, books and other products about Socialism in our region and includes full support for languages based on latin script.

Smashed Typeface is a reversed-contrast, slab serif, display font. Was inspired by the old west days that we can often see in printing, circus posters and wanted notices in western movies, even tho the style was really used in many parts of the world during that period. This style is sometimes called as "circus letter" too. Was designed to have a modern look, using straighter lines and an extended style, can be used on various situations like posters, logos for restaurants, alternative business like an old washing station (as you can see on the next images), music bands etc. I believe that is a promising typography that can be used by various designers in a lot of diverse project. It counts with 226 multi language characters, one weight on version 1.0, on a next version I hope to take this project to another level, creating a variable typeface from condensed to really extended weights. It would complete this typography and eliminate the limits of use.

Domani from CounterPoint is a faithful digital revival of an old photo-typositing face called ITC Didi. Originally designed by Herb Lubalin and Tom Carnase, Domani brings to life a font that has been somewhat neglected by the digital era until now. Brought to the attention of Jason Walcott by graphic designer Rob King, this font immediately captured Jason with its 1970s high contrast Didone style, typical of that time period. It has some unique design details that set it apart from other didone style typefaces. “Domani” is the Italian word for “tomorrow”. The name was suggested by Rob King, and Jason felt it was perfect for this revitalized design. Walcott has created a professional quality digital version that is both faithful to the original design while expanding the character set to make use of OpenType features. A full set of swash capitals and several swash lowercase, designed by Walcott, has been added, as well as support for Latin-based and Eastern European languages.

This is a standard, plain face with no special distinguishing features. It was created over a period of four months for use in small text in a cartographer package. While the face was extremely suitable for the purpose it was designed for, the party who was to purchase the family outright decided upon another design, allowing me to offer it up for sale. The original design for this face is nothing new, and has been greatly influenced by many others already in existence. It was not intended to be flashy, nor eye-catching, and I believe I have managed to escape any individuality that could have affected the face. It displays well in the lower text sizes, and, in my own opinion, displays some characters more clearly than some other similar faces that are currently in use (not all, some). While individuality makes a typeface stand out from all the others, this style of design would have been compromised with it.