The Lastwinter comes from hand scratches to get natural and natural writing. With the main vintage theme it will be very interesting if added with various kinds of Alternates (Uppercase) and also 8 kinds of Stylistic Sets in Lowercase. Lastwinter is very suitable for use in various media such as; packaging, logo, label, poster, shirt design, quote of wisdom, handlettering, typography and many other media.

Cherry Bell is the perfect font for all your fun designs. The main font file is equipped with ordinary characters, as well as more than 350 glyphs to support most Latin-based languages. It is suitable for you to use in making t-shirt designs, quotes, labels, packaging, logo types, or long writing because we have compiled kerning and matrices that are tailored to your needs.

This font is influenced by Walbaum. However, I did not just trace the design, but sort of had the image in my head while I drew the letters. This font is balanced by not being entirely Walbaum, but still basically is. I've named it "NoraPen." Nora comes from the name of the main character in Ibsen's "A Doll's House," and Pen means a cage for livestock.

Quebra is an extend display sans-serif font family with four widths (Extra Condensed, Condensed, Normal and Expanded) and ten weights, italics versions are available. The main strokes contain small breaks simulating modulated variations on the letterforms, these details are more present on large body sizes. All font versions contain Latin and Cyrillic encoding characters and also ligatures, case-sensitive forms, fractions, oldstyle and finally tabular figures.

This picturesque, beautiful German Blackletter typeface was originally released by Benjamin Becker Succ, Frankfurt am Main, then named ?K�nstlergotisch?. Ralph M. Unger redesigned, digitally remastered and completed the font based on old catalogues/specimen. In honor of the famous Cranach family, German artists in medieval times, we renamed the font after them. The shadowed version was added for even more eye-catching purposes, e.g. in headlines.

Domosed typeface was build during lockdown. As a result of home sitting it appears in two weights. It refers to Italian futurism when all generation understand global changes of industrial revolution. The forth industrial revolution appears with new rules but the main idea is the same – simplifying the processes. Causing the vibe of a bright phenomenon I want you to use my font to match to zeitgeist.

Afrikana is based on various African letters and signs. The main inspiration for making this typeface was the book by Saki Mafundikwa, Afrikan Alphabets. Letters were designed based on signs and characters from African alphabets. They were than cut out of cardboard, scanned, traced and put in a font. You are free to modify the font in any way and have fun with it.

Khamai Pro is a first attempt at writing a monoline main feature of the curves. Completed after 17 months with many design twists,and also an attempt to provide a different visual design and style as Staccato: (dashed line) Rail: (double line) and Tribe: (triple line). This series of 16 fonts with 625 glyphs each includes true italics and supports Latin, Greek and Cyrillic.

Lisboa Hebrew is humanist sans-serif typeface base on the same design as the original Lisboa (2005). The main structure is more close to the Sephardic proportions, where the letterforms contains reverse contrast and the terminals following the same calligraphic approach (Humanist). There are some characters and figures designed as small caps which have the same proportions from Hebrew. Latin transliteration characters were also included.

Terzo uses three lines in the main stem of the capitals resulting in an interesting display of script capitals. Flourishes are uniquely positioned and are deliberately minimalist in order to feature the three part stem capitals. Lowercase characters are also strong enough not to be dominated by the capitals. The overall result is a well balanced and refreshing script that will serve many purposes!

SK Brushwood is an experimental geometric font based on chaotic lines. It is inspired by the Greek stone script, but nevertheless it is modern. The main component of the letter shape is straight and sloping lines ending in straight corners, which makes it look like brushwood. This is why the font gets its name. SK Brushwood is perfect for headlines, posters, print work, and the Internet.

Rabbet is based on the handwriting of Maine furniture designer and maker, Aaron Fedarko. It's friendly, bold, condensed, and slants left. Rabbet's special feature, besides loads of boyish charm, is a load of handwritten fractions as discretionary ligatures. Whether you're curious about woodworking (a rabbet is a type of joint), or you just want a cool, maybe slightly rebellious font, Rabbet is ready to do the work.

Whiplash is a natural handwritten font with firm strokes as the main character. All-caps and mixed-match are the main concepts of this font, where the uppercase and lowercase can be pair according to your taste. This font has a very strong and very prominent character that will distract the eyes. This is a great choice when used as a title on banners, posters, book titles and even magazine covers. Modern lifestyle brands such as fashion, cosmetics, and outdoor sports are also a trend to use this font style. You who like travelling can also try to write a caption or quote, people are increasingly curious about the mystery of your adventure and short notes. Besides being equipped with multi-language, we also equip ligature such as ee, ll, gg, oo, ss, tt, pp, rr. Enjoy our fonts, and make sure your brand will stand out and invite people to take a closer look.

Marquette is a rustic font with sharp scratch characters. Marquette is very suitable for signature logos, branding, merch, ads, book title, packaging, etc. With this font each word produced will give its own uniqueness. Marquette includes 3 weights: - Marquette Regular: The main font with Uppercase, Lowercase, Number, Punctuation, and also multilingual support. - Marquette Alternate: Besides you can access alternative characters from the main font through the OpenType features, you can also install this alternative fonts. Marquette Alternate will give you other options for a character, which of course will add a natural impression. - Marquette Swashes: A set of 14 swashes, you just have to install it, then type the letters A - N to make swashes. Marquette also has a some of ligatures that will enhance the natural impression. That’s it! Please do let me know what you think, feel free to comment if there are issues or queries. Enjoy the Font, Thank You!

Lu Nolasco, also known as Lunol, is a fresh representative of a new generation of Souther American lettering artists. She was born in Lima, Peru. After learning from some of the region’s best teachers and exploring the pointed nib on her own, she became a prolific lettering workshop instructor herself. Miraflores is one of Lima’s main tourist attractions. An upscale district with a great window on the Pacific ocean, it is the place where Lu looks for inspiration. It particularly inspired this “Looking flowers” (Miranda las flores), Lunol’s first typeface, designed in collaboration with Ale Paul. It is a comprehensive informal script that comes with many alternates, swashes and ligatures, along with small cap and quite a few ornaments. The fonts cover an expansive range of Latin languages, and are intended for use in stationery, menus, packaging, and general design where the main objective is to relay a sense of fun, playfulness and sensibility.

This 1538 Schwabacher was based on a font used by Georg Rhau in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus. The original font has a relatively complete set of characters including “long s”, but also the special german types like k, fl or ‰, ˆ, ¸.... A few omissions were remedied, and accented letters were added. A render sheet, enclosed with font files, help to identify them on keyboard. It can be used as web-site titles, posters and fliers, editing ancient texts, menus or greeting cards as a very decorative font... Although this font remains clear and easy to read from 8 or 9 points on screen, it is clearly designed for print works.

This was a creative experiment. Writing for a long period of time prior to starting erased any inhibitions that prohibited forming natural, authentic letters and by adding more duration the hands became sore and weak. Allowing minimal control, and a more eccentric outcome. It was a real slog, but totally worth it. Skribblugh is a wobbly, aesthetically pleasing, and obviously handwritten typeface full of character and versatility. Within a modern design; It adds a human’s touch, a final note, a signature. And within a playful, colorful one it helps exaggerate the atmosphere, bringing playfulness and warmth to the center of the stage. With four choices for every uppercase and lowercase letter, there are plenty of opportunities to make designs look personal and relatable!

Font designed from this who was used by an unknown printer in Lyon (France) to print the “Conte de Griseldis ” (Griseldis' tale), from Petrarque, inspired by Boccace, in 1495. The original font has a relatively small number of special characters and ligature, for the time. This font includes “long s”, naturally, as typicaly medieval but numerous letters - as accented ones - were added for this version. A render sheet, enclosed with the file, helps to identify them on keyboard. It is used variously in web-site titles, posters and fliers design, editing ancient texts or greeting cards as a very decorative and fine font... This font works at a small size like 9, remaining clear and easy to read on screen, but always better when printed.

Alderney is a friendly font family in three weights, Light, Regular and Bold, designed by Stephen E Rowe for the foundry Fontelan. It is a gentle script crafted for more relaxed display needs, but, being oblique in character, it gives an air of excitement to many projects, especially in all caps situations. Unlike many scripts, the capitals can be successfully used as a great display option. All glyphs have a smooth curve and a broad, flowing, low aspect. The light version lends itself to airy design possibilities, again, especially when the caps are used for display purposes. The regular version is a well balanced script that remains spacey and elegant, and the bold version is excellent for a display that suggests excitement.

Rooney is based mainly on old-style serif construction principles, such as the angle of stress, the open letterforms and the medium contrast, which lends the typeface a serious feel. Nonetheless Rooney is equipped with rounded shapes and soft curves that add a warm and smooth overall impression. Rooney combines these two different approaches: It has distinctive, original letterforms, but remains very readable and versatile. It includes six weights from Light to Black and Italics. The Rooney family comes with a Pro version, which is intended for professional designers. It contains lots of OpenType features such as small caps, ligatures, different figure sets and alternate glyphs. With around 840 glyphs, Rooney Pro is a powerful tool for any kind of typographical task.

Black Foroth is a san serif font with an elegant yet fun relaxed appearance. It differs from other san-serif fonts in its application because it was created by combining serious and relaxed themes, resulting in a font that can give the impression of seriousness while remaining convenient. Use it in your creative projects to get a unique look and feel. This font is perfect for games, sporting events, branding, banners, posters, movie titles, book titles, quotes, logotypes, and more. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a complimentary font family, both for titles and subtitles and sentence text, start using our fonts for your amazing projects.

Germany has a strong heritage of industrial typefaces. These fonts seem like being constructed by engineers. The shapes seem to be built with circles and squares. DIN Mittelschrift is one very famous example, or the font on the old German car number plates. Since the Romain du Roi we know that it is tricky to draw a geometrical typeface. For optical reasons you have to go away from circles and lines with exactly one weight. Therefore the aim is not to construct a typeface but to draw it the way it seems constructed finally. The design of a typeface is like stage production. Like heavily made up actors the characters of a typeface must be exaggerated to work well. Particularly in small sizes.

Introducing the elegant and modern Gucina Geometric Font Family - a versatile typeface that will add a touch of sophistication to your designs. With its clean lines and geometric shapes, this font type is perfect for creating minimalistic logos, advertisements, web designs, and branding materials. The Gucina Geometric Font Family comes in a variety of weights, making them ideal for a variety of design projects. Whether you need a bold and impactful font for titles, or a light and airy font for body text, Gucina has you covered. Its timeless design ensures that your creations will remain relevant and stylish for years to come. Don't settle for plain fonts - improve the quality of your designs with the Gucina Geometric Font Family.

1776 Independence was designed inspired mainly from the Caslon typeface used by John Dunlap in the night of 1776 July 4th in Philadelphia to print the first 200 sheets of the Congress' Declaration of Independence establishing the United States of America. I just added accented letters and a few others, with respect for the original design. A render sheet,enclosed with font file, help to identify them on keyboard. It can be used as web-site titles, posters and fliers, editing ancient texts, menus or greeting cards as a very decorative font... This font supports as easily enlargement or small size, remaining clear and easy to read from 8 or 9 points to 72 and over. It gives a smart look especially to prints.

Chaparral is the work of type designer Carol Twombly and combines the legibility of slab serif designs popularized in the 19th century with the grace of 16th century roman book lettering. The result is a versatile, hybrid slab-serif design. Unlike ""geometric"" slab serif designs, Chaparral has varying letter proportions that give it an accessible and friendly appearance in all weights from light to bold. And because it is a multiple master typeface with an optical axis (ranging from 7 to 72 points), Chaparral is clear and legible in smaller text settings while remaining subtle and lively at display sizes. Chaparral�s highly functional design is surprisingly beautiful, the perfect choice for correspondence, as well as book, poster and newsletter design.

I wanted to capture a sense of California with this font - generous, warm, open, bold and sunny - all this imagery is captured in Santa Cruz. It is the quintessential California beach town like the world-famous Boardwalk with everything from the Giant Dipper roller coaster to cotton candy, corn dogs on a stick and chocolate-coated bananas. In fact, the Santa Cruz Boardwalk is the West Coast's last remaining seaside amusement park. It has miles of sandy beaches, giant redwood forests and great wineries. I know you will find many great applications to use SantaCruz, the font, whenever you have a need to extress a warm, sunny and generous spirit! SantaCruz is available in Opentype, PostScript and Truetype formats for both Mac and Windows.

Germany has a strong heritage of industrial typefaces. These fonts seem like being constructed by engineers. The shapes seem to be built with circles and squares. DIN Mittelschrift is one very famous example, or the font on the old German car number plates. Since the Romain du Roi we know that it is tricky to draw a geometrical typeface. For optical reasons you have to go away from circles and lines with exactly one weight. Therefore the aim is not to construct a typeface but to draw it the way it seems constructed finally. The design of a typeface is like stage production. Like heavily made up actors the characters of a typeface must be exaggerated to work well. Particularly in small sizes.

This family was inspired by the pure Jenson set of fonts used in Venice to print De preparatio evangelica in the year 1470. The present font contains all of the specific latin abbreviations and ligatures used in the original. Added are the accented characters and a few others not in use in this early period of printing, also small caps, these, contained in a separate file in the Mac TT version. This font supports strong enlargements as easily than small size remaining very smart, elegant and fine. Decorated letters like 1512 Initials, 1550 Arabesques, 1565 Venetian 1584 Rinceau or other fonts from GLC Foundry, can be used with this family without anachronism. If Italic style is required, we recommend the use of 1557 Italique.

Aye! Verily ‘twould seem ’tis time for thee to speak in the majuscule language of legendary gods! Yea, thou shalt speak most eloquently in the style and manner of many a pseudo-Shakespearian Bard. Forsooth, thine utterances such as “HAVE AT THEE, VILE VILLAIN!” shall cause all ye creatures of evil to begone from the hallowed halls of Asgard (or other otherworldly domains of the gods). Forsooth, Meanwhile Uncial is a Capital Font, suitable for Gods of Thunder, Mischief or e’en Warriors Three! Meanwhile Uncial contains alternate uppercase characters, auto-ligatures for a more natural, hand-drawn appearance, and Comicraft's magical Crossbar I Technology™, to keep that Mighty Character in its proper place. (Artwork from ELEPHANTMEN #32 by Richard Starkings & Axel Medellin, available on Comixology)

Valverde Rounded is the more playful and gentle variant of Valverde Family. It still remains a super-serif font family with 2 widths condensed and normal, each width consists of 18 fonts and has a complete weight from thin to black combined with beautiful italic cuts to meet the needs of any design in any format. Inspired by the type of vintage rounded look that has recently become a trend, this round letter character has a comfortable and friendly impression. Opentype features such as Stylistic Alternate and Ligature on the Valverde family make it look more aesthetic so that it fits in a classy modern look. Stunningly beautiful and vintage rounded serifs make them an essential addition to any type of tool kit.

ITC Dartangnon is a work of English designer Nick Cooke and began with the thought, It's a long shot but it might just work as a font." It started as a doodle with a chunky pencil. "So many script fonts look too stylized so I thought I'd try to produce one that looks more like handwriting." He scanned the doodles and used Fontographer to draw a set of monoline letters. "Working quickly I soon drew the whole alphabet, and without being too pedantic about the characters joining exactly, I arrived at this script." ITC Dartangnon is an energetic font which remains legible even in small point sizes. And, Cooke adds, "It is supposed to be used as upper and lowercase only, NEVER just caps.""

Them Bones is a hand-drawn, spooky, ghost pirate, cartoon font for Halloween. Them Bones is a hand-drawn and spooky font made from the remains of ancient skeletons and ghostly pirate ships. It has a fun, light-hearted design inspired by campfire tales, Saturday morning cartoons, kids adventure movies and vintage comic books. This unique all-caps font comes in two flavours - a novelty design that’s drawn to appear like old bones, and a clean, versatile alternative that works great on it’s own or as contrasting characters. Each of these come with a hand-drawn outlined version with their imperfections intact for an authentic inky look. It’s a great choice for light-hearted Halloween designs or adventure stories with a fun, gruesome edge!

Rufo — condensed geometric sans serif with the closed forms. Contains 12 fonts. 6 regular and 6 italic. From thin to black. A rich palette gives full freedom for creativity and bright decisions. Extensive area of use. The versatility of the sans serif typeface covers various aspects of graphic design. Web, printed materials, clothing, logos, posters, labels and much more. Rufo is pragmatic typeface. Can save space and will accommodate a large amount of information in a limited space. The font was designed so that condensed letters remains readable even in small sizes. Opentype: alternate numbers, oldstyle numbers, arrows, fractions and automatic fractions, case sensitive forms, superscript and subscript, numerators and denominators. Support: cyrillic, cyrillic extended, latin, latin extended (Western European, Central European, South-East).

Ingram BT might be described as Deco, or Arts & Crafts, in style. Created by Alex Marshall, it is a very condensed design with high-waisted uppercase glyphs that feature dots rather than straight lines for the middle hairlines. There are two sets of alternate glyphs accessible via stylistic and contextual OpenType features. The contextual alternates offer the most interesting glyph substitutions. There are also oldstyle and tabular figures, superiors and inferiors, as well as unlimited fractions. Ingram is a very handsome, casual typeface, with a slightly rough finish. The compact lowercase remains very readable at text sizes and it is a pleasure to turn on the earth tone colors and typeset left and right justified paragraphs! The extended character set supports Baltic and Central European languages.

Quill-formed roman/gothic with an olde-worlde flavor. Some background in the designer's own words: "A series of fonts came to mind which would be rooted in the medieval era -for me, a period of intense interest. Prior to Gutenberg's development of commercial printing with type on paper in the mid-1400s, books were still being written out by hand, on vellum. At that time, a Bible cost more than a common workman could hope to earn in his entire lifetime. Men like William Tyndale devoted their energies to translating the Scriptures for the benefit of ordinary people in their own language, and were burned to death at the stake for doing so. Those in authority correctly recognized a terminal threat to the fabric of feudal society, which revolved around the church. "This religious metamorphosis was reflected in letterforms: which, like buildings, reflect the mood of the period in which they take shape. The medieval era produced the Gothic cathedrals; their strong vertical emphasis was expressive of the vertical relationship then existing between man and God. The rich tracery to be seen in the interstices and vaulted ceilings typified the complex social dynamics of feudalism. Parallels could be clearly seen in Gothic type, with its vertical strokes and decorated capitals. Taken as a whole, Gothicism represented a mystical approach to life, filled with symbolism and imagery. To the common man, letters and words were like other sacred icons: too high for his own understanding, but belonging to God, and worthy of respect. "Roman type, soon adopted in preference to Gothic by contemporary printer-publishers (whose primary market was the scholarly class) represented a more democratic, urbane approach to life, where the words were merely the vehicle for the idea, and letters merely a necessary convenience for making words. The common man could read, consider and debate what was printed, without having the least reverence for the image. In fact, the less the medium interfered with the message, the better. The most successful typefaces were like the Roman legions of old; machine-like in their ordered functionality and anonymity. Meanwhile, Gutenberg's Gothic letterform, in which the greatest technological revolution of history had first been clothed, soon became relegated to a Germanic anachronism, limited to a declining sphere of influence. "An interesting Bible in my possession dating from 1610 perfectly illustrates this duality of function and form. The text is set in Gothic black-letter type, while the side-notes appear in Roman. Thus the complex pattern of the text retains the mystical, sacred quality of the hand-scripted manuscript (often rendered in Latin, which a cleric would read aloud to others), while the clear, open side-notes are designed to supplement a personal Bible study. "Tyndale is one of a series of fonts in process which explore the transition between Gothic and Roman forms. The hybrid letters have more of the idiosyncrasies of the pen (and thus, the human hand) about them, rather than the anonymity imbued by the engraving machine. They are an attempt to achieve the mystery and wonder of the Gothic era while retaining the legibility and clarity best revealed in the Roman form. "Reformers such as Tyndale were consumed with a passion to make the gospel available and understood to the masses of pilgrims who, in search of a religious experience, thronged into the soaring, gilded cathedrals. Centuries later, our need for communion with God remains the same, in spite of all our technology and sophistication. How can our finite minds, our human logic, comprehend the transcendent mystery of God's great sacrifice, his love beyond understanding? Tyndale suffered martyrdom that the Bible, through the medium of printing, might be brought to our hands, our hearts and our minds. It is a privilege for me to dedicate my typeface in his memory."

Check out the new Lust Pro & Lust Pro Didone to see how the series has grown and evolved. Confident, voluminous and versatile, Lust is an exercise in indulgence—an attempt to create something over the top and vastly useful. Lust Hedonist pushes contrast almost to the limit. The letterforms, especially the Script style are very self-indulgent for me, dare I say Hedonistic, and how I like to see letter masses taken to extreme contrast. The series unapologetically channels Herb Lubalin, but produced with a deliberate, contemporary twist. There is an intentional slyness infused in the letterforms—the extreme thick and thin lines flow effortlessly without becoming gratuitous. It’s always just enough, not too much. What makes the type series so appealing? The curves. When asked to describe the letterforms, most people unwittingly allude to the human form, using adjectives usually reserved for describing physical traits… creating all-too-familiar comparisons. Summerour has grown to accept this as unavoidable and reasonable given his acknowledgement of its influences and has provided nuances within the letterforms to accentuate that.

Working on The Lab late one night, evil comic book genius Scott Christian Sava realized there was something missing from his graphic experiment! No, not slugs and snails or puppydogs' tails, nor sugar, spice, everything nice and formula 'X'....No, what his nefarious scheme was missing were the actual numbers and letters with which he could complete his equation! BRILLIANT! What he needed was something antiseptically clean and readable, even at small sizes for megalomanical rambling as well as the 5 point type under the Bio-Hazard logo that nobody really reads, and yet also bouncy and energetic enough for the inevitable sound effects that might follow exclamations such as: "IT'S ALIVE!" or "IT JUST-MIGHT-WORK!" Thanks to those awfully nice chaps at Comicraft, MadScientist is now available to evil geniuses everywhere, and guaranteed Laboratory tested.* *On reanimated human beings reconstituted from bones and organic body parts and organs from local charnal houses. No animals or small children were hurt during the creation and use of this font. Well, not yet, anyway. Artwork by Lew Stringer

Beauty Starlight is a mesmerizing script font that radiates elegance and grace. With its intricate and flowing letterforms, this font captures the essence of celestial beauty, making it a perfect choice for projects that demand a touch of sophistication and charm. The delicate curves of Beauty Starlight bring a sense of refinement to your designs, making it ideal for wedding invitations, luxury branding, and any creative endeavor that seeks to convey a sense of timeless beauty. The script's versatility allows it to seamlessly blend into various design contexts, offering a touch of glamour and individuality. The effortless strokes of Beauty Starlight evoke a sense of handwritten artistry, providing a personalized and human touch to your projects. Whether you're designing logos, packaging, or social media graphics, this font invites you to infuse your work with a celestial glow. Embrace the celestial beauty of Beauty Starlight script font and watch as your designs shine with an ethereal allure. Elevate your typographic expressions with this font that blends grace with a touch of starlight magic.

Fast Rewind: A Timeless Handwritten Script Font A handwritten brush script with a versatile, relaxed and nostalgic feel. This illustrative brush script owes its inspiration to the 1950s art direction typical of mainstream magazines and book covers. A relaxed hand-lettered title was often paired with illustrations of handsome couples or escapist scenes, encouraging readers to settle into the latest gripping story from authors such as Ray Bradbury, Donald Westlake or Arthur Miller. Fast Rewind aims to repurpose this vintage look for contemporary designers with two handwritten fonts, drawn in ink and brush, and then digitally mastered to maintain those all-important human imperfections. Included are the Regular and Alternative designs, with a complete set of uppercase and lowercase characters, along with numbers, symbols and language support. Also included are a variety of underlines and illustrations as seen in these visuals. Each style also comes with its own selection of extra glyphs to helps you achieve the perfect flow between characters and avoid tell-tale repetition. Thanks to all the great photographers who provided images for these visuals.