Portsmouth Second Fleet is the rag tag, wild bunch companion to Portsmouth. It is a strong, sturdy typeface with historical character. Its inspiration comes from the height and strength of the wooden tall ships that sailed into port in their day. With caps and small caps, this typeface is great for headlines or subheads for design projects that need a historical or retro feel, such as from the 1940s and earlier. Two different styles that can be layered allow for different colored drop shadows, outlines and fill for even more customization.

Biscayne is inspired by the old and classic Art Deco art and architecture found in some building ads from the 1930's in the Art Deco District of Miami. The name of the font family is one of the most emblematic and representative places in Miami City. Biscayne can be used mainly in titles, display and short texts. This typeface family supports East Europe languages. It also includes standard and discretionary ligatures, alternative style of uppercase, fractions, numerators and denominators, end and/or terminal forms and other OpenType features.

Leksa Sans is a humanist sans-serif face with some contrast. The family consists of 14 faces (upright & true italic in seven weights from Extralight to Black). Designed as a sans-serif companion for Leksa, Leksa Sans works perfectly either with it or alone. It is suitable both for text setting and for short inscriptions. One of the main features of the typeface is its professionally-designed Cyrillic which (together with serif companion Leksa) was awarded for excellence in type design at Modern Cyrillic competition in Superfamilies category.

Little Dolly is a fun handwritten font filled with handwritten charm and personality! It is the perfect choice for crafters with lawn mowers, as it is extremely smooth for optimal cutting performance. Little Dolly is a fun font that's bold and smooth enough to cut with the Cricut & Silhouette crafting machine, for Titles for children's books, scrapbooks, logos, icons, phrasesor quotes for winter greeting cards (Halloween or New Year holidays), photo overlays, short phrases, children's books, gift shop tags, presentations on social media Pinterest, Instagram, Facebook, or others. Thank you!

Originally developed as a part of a corporate identity, Bale is a warm and confident sans-serif font. With its generous counters and angled terminals Bale is a dependable work horse with enough flare to add interest to any typographical landscape. This hardworking font comes equipped with small caps, automatic fractions, proportional/tabular lining and old style figures and alternative glyphs and is the must for any typographic toolkit. Bale Mono is the monospaced companion of Bale. This Mono font brings a technical edge to the cool professionalism of Bale.

Archimelo is a handwritten signature script with a natural & stylish flow. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Kurdis Varibel Font Family is a modern sans serif family with six widths and five Weights Making 30 Set Styles and of course 10,000 more combinations when considering the Variable options. This Typeface is a real work horse for titles. At its condensed Width it is sophisticated and professional with well considered ink traps that help it really stand out at Large Sizes. the Regular width works well for longer bodies of text on websites or posters and the Wide Styles give an elevated look to your average wide sans serif.

Lettichossa is an old-fashioned typeface, inspired by victorian and ornamental typography styles. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. **Featured:** * Standard Uppercase & Lowercase * Numeral & Punctuation * Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ * Alternate & Ligature * PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Impact wide was developed from the designer's original drawings for the production of 'Impact' metal type, with many detail changes because of the density of the letters. These include the restoration of the bevelled i and j dots of the original. Character maps show some useful alternative characters in both roman and italic. Included are a crossbar numeral 1, mirror quotes and some sorts which were cast in metal but never reproduced in digitized versions of the typeface. There is also a font-specific Euro symbol. (Impact is a trademark of The Type Museum, London).

Hilda is an ode to countryside. This typeface is inspired by the peace that comes with escaping the city and drinking a cup of coffee while listening to the chirping of birds. The name comes from a cartoon series “Hilda” based on comic series by Luke Pearson. I describe it with 2 words - elegant and playful. It is an all caps, display font that can be used for titles and short texts. Hilda is multilingual and if it gains enough recognition I am willing to add more weights and styles!

Bamberforth is a new take on the type of lettering that was often seen on Railway timetables, share certificates and anything else that needed a distinctive heading in the mid-19th Century. This sort of thing was used on both sides of the Atlantic and can carry us back to another time. Bamberforth aims to give a modern clarity to a style of lettering that, in all other particulars, harks straight back to Victorian times. Bamberforth is ideal for giving anything a 19th century feel-especially posters, book headings, dust jackets and invitations.

Last year I walked half of Offa’s Dyke path, a long distance trail on the Welsh/English border. Walking the trail, I came across a beautiful stretch of forest with a lovely name: Cadora Woods. Cadora Woods font was made with a Japanese brush pen. It sort of looks medieval and a friend of mine suggested it would be the font of choice for maps of ‘The Shire’. I guess that is true, but I am convinced you can come up with some innovative uses for this font!

La Route is inspired by my other font Modern Times. La Route works great in any branding, films, magazines, header, logos, badge, packaging, headline, poster, t-shirt/apparel. La Route gives you options to explore a whole host of applications and give a real modern feel to any project. 965 glyph, 100+ Languages Set. Multilingual support: Latin basic, Latin Extended, Cyrillic, Greek, Georgian, Central Europe, Turkish, Baltic, Romanian, Euro, West European diacritics Please test your alphabet. If you have any issues please let me know through email turalalisoy@gmail.com.

Kettonia is a modern aesthetic serif font that is both memorable and stylish. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. **Featured:** * Standard Uppercase & Lowercase * Numeral & Punctuation * Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ * Alternate & Ligature * PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Loterio Script is a modern and elegant handwritten font with varying thickness and a charming gesture. This font is great for your creative projects such as watermark on photography, and perfect for logos & branding, photography, invitation, watermark, advertisements, product designs, stationery, wedding designs,label, product packaging, social media, movie titles, books titles, a short text even a long text letter and good for your secondary text font with sans or serif. And also for special events or anything that need handwritting taste. Thanks for checking out this font. I hope you enjoy it!

Jazmín is inspired by "Globe Gothic" design yet features different proportions, curves, serif shapes and contrast, which give it a classy, playful and a more contemporary look. The family comes in two versions: an elegant font of 8 weights-ranging from Thin to Black-with matching italics, and an alternate, more playful counterpart with the same number of weights and italics. The whole Jazmín set contains 566 characters which support over 200 Latin-based languages. Jazmín is ideal for magazines, short text, logos, branding design, packaging and advertising.

Sattel Hintar Brush Script Font Sattel Hintar is a brush script font. With rough brush stroke, fun character with a bit of ligatures and has a two files lowercase alternates. To give you an extra creative work. Sattel Hintar font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Sattel Hintar font. Cheers, MaulanaCreative

GULP font is a playful and fun font inspired by pop art, hippie and comic book styles. It's groovy, funky and retro with an ultra-bold and fat appearance, making it perfect for eye-catching headers and short word texts. This font exudes modernity and fanciness, making it ideal for any purpose that requires a dominant and powerful impact. The italic style adds a touch of uniqueness, giving it a playful edge. However, GULP is not recommended for long text as it can be overpowering and may detract from the overall readability of your content.

Ponzastura typeface was inspired by Aldo Novarese's Eurostile, but in this case, monolinear strokes took on contrast and stress. The classical appearance of Ponzastura, whose name is inspired by the Italian city Pontestura where A. Novarese was born, is more of a reaction and interplay. The character set supports most European languages and contains ligatures as well as symbols, figures and alternative characters. Its strength is in a simplicity and format; recommended for use in headlines or short sentences. Ponzastura typeface can fill in a gap of high-contrasted fonts of nowadays.

Cherolina is a lovely elegant script font that includes a full set of uppercase and lowercase letters, numerals, multi-lingual support, punctuation and ligatures. You also get short lowercase beginning and ending swashes, and lowercase ending swashes which serve to connect two words or letters. Those are so perfect for invitations, monograms. This font also includes long lowercase beginning and ending heart swashes. Cherolina has a smooth texture so would be perfect for all types of printing techniques. You can use it for embroidery, laser cut, gold foil and more.

Starixo font is a modern and authentic display font. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. **Featured:** * Standard Uppercase & Lowercase * Numeral & Punctuation * Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ * Alternate & Ligature * PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

An original text and display type family was designed for ParaType in 2008 by Manvel Shmavonyan to be used together with Susan and Susan Classic, earlier released type families by the same author. This is a low-contrast sans serif font with open letterforms. Its shape is distinguished by rounded upper parts of lower case. Susan, Susan Classic and Susan Sans forms a super family coordinated on weight, style and proportions. Susan Sans is well suited for short and middle range text composing as well as for use in advertising and display typography.

Decize font is a classic “Didona”, characterized by extreme contrast in thick strokes and thin strokes, by the use of very short serifs, and by the vertical stress of the letters. This version, designed by Carine de Wandeleer, is slightly condensed and is also enriched by a full set of OpenType features of tails, ligatures, alternates and swashes. Decize Italica is a true "italic" This font was designed and carefully drawn to combine with Decize Regular, it has 652 glyphs and the same OpenType features than the regular version.

Follow your design needs with Presto Script font. It’s a script typeface which has contextual alternates for additional authenticity as open type feature. If you want to manually change letters in your headline or short text, stylistic alternates are available through glyph panel (you need to disable contextual alternates option). Really very easy to use! The font is perfect for quotes, wedding branding, headings, social media texts, blogs and much more. The font has Latin multilingual support as well as uppercase letters, lowercase letters, numbers and basic punctuations.

Started with a base of geometric shape, Havard is a Strong and Sturdy display font with an industrial feeling, college style, vintage look, and sporty and athletic theme. Best use for this family is for headlines, display, logotype, clothing, or any short text. Havard includes 12 styles, starting with a regular, regular with inline, shadow, bevel. All of the style also have rough version. Since some of them are connected you can mix and match to use it for a layered fonts, just combine what you like as I created on a design sample above.

This typeface was designed for editorial purposes (text sizes), where the letterforms contain short serifs (more economical). This font family contains different weights (from Extra Light until to Extra Bold) to create an simple and sequential typographic hierarchy scale. There are two different weights and options designed specifically for text sizes (Regular and Text). The design is classical but contain some contemporary details, which are not distractive for reading, it's simple and clean at small sizes. This font family include italics, small caps, ligatures, old style and tabular figures.

Linotype Pide Nashi is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. German artist Verena Gerlach created a typeface which looks almost like Arabic at the first glance, only with the second do the familiar forms become clear. Rounded lower case letters, generous, sweeping capitals and diamond-shaped ornaments give the font its Arabic feel. The exotic Linotype Pide Nashi is best suited for short and middle length texts and headlines and especially for ornamental texts.

Eddieth Handbrush is a best-handwritten brush that is written casually and quickly. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Delaguerra is based on a lettering style originating in the California Arts & Crafts period commonly associated with 'Mission Style'. It is still in common usage in signage at historical sites in California. This version is a sort of idealized hybrid of several different variations on the style from samples we were sent by a customer who wanted to use the font in a set of invitations. It features a basic character set on the lower case and then relief initial versions of the same characters for the upper case.

Chemistry is a stylish monoline script with a natural flow and beautiful and elegant characters, you can use this font to design wedding invitations, labels, logos, branding, craft project, quotes, and more. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign, and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swash font files: if you have questions about the latest fonts, please provide a short message to us Thank You! MJB Letters

This is a digital revival by Cristóbal Henestrosa based on an experimental typeface named Charter, designed – yet never fully accomplished – by the prominent William Addison Dwiggins. It is an upright italic, unconnected script typeface, whose main features are a pronounced contrast, condensed forms and exaggerated ascenders. While Dwiggins worked on this project from 1937 to 1955, he only completed the lowercase and a few other characters. However, it was used to set a specimen in 1942 and a short novel in 1946. The sources that Cristóbal used for Mon Nicolette were the original sketches by WAD as well as printing trails kept at the Boston Public Library, and a copy of the 1946 edition of The Song-Story of Aucassin and Nicolette. This gorgeous typeface can be used successfully in headlines, subheads and short passages of text from 12 points onwards, in applications such as fashion magazines, soft news, advertising, poetry, albums, and book covers. This project started ten years ago, while Cristóbal was studying the Type@Cooper Extended Program at New York City. A previous version was selected to be part of the Biennial Tipos Latinos 2018, and now Mon Nicolette is finally ready for commercial distribution with Sudtipos… and we are very proud of it! Festina lente.

Hal Taylor's ITC Outpost was not the result of a detailed design brief, nor was there a methodical development of key concepts or characters. Outpost just seemed to emerge all at once during a brief sketching session," says Taylor. "I guess what I was thinking of was an antiquated Western perception of some sort of Middle Eastern hand lettering - a 'mysterious East' sort of thing." ITC Outpost's sense of the exotic has an almost Art Nouveau quality, with its sensuous curves and sweeping strokes. The open bowls and opposing weight bias in many of the characters add to the design's striking personality. A suite of alternate and swash letters enables the setting of distinctive display copy. ITC Outpost's family of roman, italic, and swash characters is compact but versatile. The caps have the grace and authority of a titling face. Add in the lowercase and swash letters and copy is transformed into something lighthearted and full of verve. ITC Outpost creates dramatic headlines and adds a flourish to invitations, menus, logos and packaging An accomplished designer, Taylor has spent most of his career in the lettering and typographic arts. He began as a photo-lettering typographer, setting headlines and creating custom lettering, and now works in the publishing industry. "

The Younger Futhark, also called Scandinavian runes, is a runic alphabet and a reduced form of the Elder Futhark, with only 16 characters, in use from about the 9th century, after a "transitional period" during the 7th and 8th centuries. The reduction, somewhat paradoxically, happened at the same time as phonetic changes that led to a greater number of different phonemes in the spoken language, when Proto-Norse evolved into Old Norse. Also, the writing custom avoided carving the same rune consecutively for the same sound, so the spoken distinction between long and short vowels was lost in writing. Thus, the language included distinct sounds and minimal pairs that were written the same. The Younger Futhark is divided into long-branch (Danish) and short-twig (Swedish and Norwegian) runes; in the 10th century, it was further expanded by the "Hälsinge Runes" or staveless runes. The lifetime of the Younger Futhark corresponds roughly to the Viking Age. Their use declined after the Christianization of Scandinavia; most writing in Scandinavia from the 12th century was in the Latin alphabet, but the runic scripts survived in marginal use in the form of the medieval runes (in use ca. 1100–1500) and the Latinised Dalecarlian runes (ca. 1500–1910)

A casual sans that harks back to the very English style of book jacket and poster art of the late 50's and early 60's. The turned-in terminals are reminicent of Stephenson Blake's Grotesque 9, and the italic provides unique cursive versions of the lowercase characters. Available in a "narrow" version as well as two standard weights, this face lends itself to the wider letterspacing that evokes hot metal.

Rotorua is a nice city in the Bay of Plent area of New Zealand. The area is famous for geothermal activity and every year thousands of tourists flock there to see the bubbling hot mud pools and the Pohutu Geyser. Rotorua font is a beautiful art deco typeface - with a twist. The font is all caps, but the lower case o, q and y differ. Rotorua comes with volcanic language support.

Designed at Polygraphmash type design bureau in 1984 by Vladimir Yefimov, with the addition of demi and demi italic. Based on a hot-metal typeface (1962) by Moscow book designer Vadim Lazurski (1909–1994), inspired by the early 16th century typefaces of Italian Renaissance. The typeface is useful for text and display composition, in fiction and art books. An 'expert set' was added by ParaType (ParaGraph) in 1997.

The newest addition to the Outside the Line collection of picture Doodle fonts... Christmas Doodles. The perfect font for that quickie Christmas party flyer. It includes gifts, gift tags, gingerbread man, gingerbread house, candy canes, hot cocoa, bow, crackers, 2 kinds of trees, poinsettia, jingle bell, ornaments, snowflakes and a star. This font works well with Holiday Doodles and Holiday Doodles Too which have some Christmas icons in them.

Plantin is a family of text typefaces created by Monotype in 1913. Their namesake, Christophe Plantin (Christoffel Plantijn in Dutch), was born in France during the year 1520. In 1549, he moved to Antwerp, located in present-day Belgium. There he began printing in 1555. For a brief time, he also worked at the University of Leiden, in the Netherlands. Typefaces used in Christophe Plantin's books inspired future typographic developments. In 1913, the English Monotype Corporation's manager Frank Hinman Pierpont directed the Plantin revival. Based on 16th century specimens from the Plantin-Moretus Museum in Antwerp, specifically a type cut by Robert Granjon and a separate cursive Italic, the Plantin" typeface was conceived. Plantin was drawn for use in mechanical typesetting on the international publishing markets. Plantin, and the historical models that inspired it, are old-style typefaces in the French manner, but with x-height that are larger than those found in Claude Garamond's work. Plantin would go on to influence another Monotype design, Times New Roman. Stanley Morison and Victor Larent used Plantin as a reference during that typeface's cutting. Like Garamond, Plantin is exceptionally legible and makes a classic, elegant impression. Plantin is indeed a remarkably accommodating type face. The firm modelling of the strokes and the serifs in the letters make the mass appearance stronger than usual; the absence of thin elements ensures a good result on coated papers; and the compact structure of the letters, without loss of size makes Plantin one of the economical faces in use. In short, it is essentially an all-purpose face, excellent for periodical or jobbing work, and very effective in many sorts of book and magazine publishing. Plantin's Bold weight was especially optimized to provide ample contrast: bulkiness was avoided by introducing a slight sharpening to the serifs' forms."

Leroy is a font family of 5 members designed from geometrizing Roman and Gothic skeletons. Its purpose is to provide optimal reading of titles and paragraphs with strong mechanical flavor. Because of this, its variables are designed to sort information in media such as labels, signs and industrial atmosphere packaging related with the Soviet Union’s fonts in 1920. This idea matured white horizontal lines superimposed on alphabets drawn with an ancient architectural team known as “Leroy K & E Controlled Lettering System”. Then that evolved into a family concept unifying its proportion to the same X height for its members, resulting in a versatile type system. Therefore, Regular and Bold variables have low contrast between thick and thin strokes. Its upstream and downstream are extremely short, generating a suitable interline that clogs the vertical area. Its overall width equal to its X height, supports its tight spacing that compacts the horizontal area. Therefore, the variant with black caliber has plenty of contrast between thick and thin strokes. The light variable has a “blind” effect radiating light halos, ideal to propose hierarchies and combinations with orthogonal projection. In that sense, Leroy’s modular character reminds constructivist ideology merged with typographical variants suitable for graphic design with geometric look. To achieve this, I studied the softening of forms and counter blocks into a typographical system specially designed for composing useful information to attract attention. In that sense, the dingbats were obtained through a careful process of research and testings done with drawings that provided full and empty visual strategies that with the passage of time helped to forge the major decisions of a metamorphosis from industrial tools, birds and humans from pictogram mixing various genres.