In 1966 and 1967 a series of weird events spooked Point Pleasant, a small town in West Virginia. Townspeople described a creature that looked like a man, with red eyes and moth-like wings, which appeared at several locations around town. The Mothman myth was born. Mothman font is spooky as well. It is a very scratched and distorted typeface, completely hand drawn, using ink and various sharp utensils. Mothman font will surely leave a lasting impression!

When I am working on a new font, I usually play some music, or have a song in my head. When I was working on this font, an Audioslave song called Getaway Car was playing in my head. Again: naming a font is not that difficult! Getaway Car was made with a cheap brush and expensive Chinese ink. It is an all caps font, ideally suited for posters, book covers and designs that need a bold, rough & ready look.

Gromy is a casual, informal and friendly calligraphic font. It come with 561 glyphs, with OpenType features, swashes for all glyphs, stylistics sets, stylistics alternates and a lot of ligatures to play with your texts. Gromy can be used in works that require an informal and original feel, children's books, wedding invitations, greeting cards, posters, labels, t-shirt design, in ink or watercolour based designs, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds!

A Western Union telegram from 1951 provided the typographic inspiration for Message by Wire JNL, which is available in both regular and oblique versions. Unlike other available type fonts which emulate the ink ribbon-struck printed characters from the teletype machines, this version was redrawn to celebrate the actual type design itself. The typeface letter spacing has been equalized so that when in use, it looks much like the printed output of an old telegram messsage.

Glowing Brush is a natural and beautiful brush-lettered font, a calligraphy style with decorative end characters and a dancing baseline! This font is perfect for use in ink or watercolor based designs that produce natural handwriting. With a style like this, this font will be suitable in use for logos, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, t-shirts, book covers, name cards, invitations, greeting cards, and all your other lovely projects.

The pLatinum family was created in 1998. Ink, scanner, Fontographer and as a result Regular and Italic styles of pLatinum typeface. Kyrillitsa'99 International type design competition Award winning typeface. The design style is “Irregular Serif”. The glyphs of pLatinum roman are reminiscent of the Russian types of early eighteenth century—especially in the smaller point sizes. An Italic, surprisingly close to the handwriting copybooks of mid-eighteenth century, is a later addition to the design.

Vintage Stencil Borders JNL collects twenty-six decorative vintage and antique stencil border motifs for embellishing word copy set in stencil type or for any other decorative purpose. Please note: Commercial reproduction of these designs as stencils, stickers, decals, transfers, ink stamps or other decorative stand-alone products for resale requires a separate license. Contact Jeff Levine through the email address located in the PDF file provided with the font or from the online EULA text.

I designed this font a few years ago to address a direct problem. My work demanded small paragraphs of text to be screenprinted in a varsity font style. The house varsity was rather uneven and created small blobs of ink at sharp angles when printed. I designed Beau's Varsity to address both of these problems. The new font eliminated the blobbing, and I like to think my original design is a step up in evenness from the other options.

Penzance is a display monospace handwriting font. The typeface is a distinct hand drawn font using a fountain pen quill ink style. The Penzance name means "holy headland" in the Cornish language and is derived from the town on the English coast of Cornwall. Penzance is great for display work, invitations, writing, books, posters, logos and headings.

Melancholy is designed to be a rough and blotchy typeface that replicates ink from a typewriter. The letters themselves are meant to be imperfect with a nice flow. The typeface can act as a more natural sans-serif, and provide relief from reading normal perfect sans-serif typefaces. Melancholy comes in three different styles; regular, delusional and glitch.

Introducing! Balmind Font! a casual aa cursive font that is natural and beautiful in every curve. The style of this font imitates wet ink strokes and creates a casual and relaxed feel. Balmind is very suitable to fill your design needs such as, branding, social media, merch, ads, book title, packaging, etc. Enjoy the Font, Thank You!

Since I live in a hamlet without any facilities whatsoever, I order a lot online. Most deliveries are done during daytime, but some companies prefer to deliver my stuff at night. When I was drawing out the glyphs for this font (using my Chinese ink and a broken paint stirrer), the door bell rang. It was a Night Delivery…

Amina was created using the DNA of Metrik. A neutral grotesque sans serif, chopped and remixed to create Amino. The ink traps have been raised to create a dynamic typographic language that makes Amina contemporary and dynamic. Amina works great for bold, typographic treatments and still maintains readability in body copy. Includes language support, stylistic alternates.

Take Trails is a handcrafted script vintage font. The font uses rounded rough edges, inked style and has texture, so this script typeface gives a feel of vintage, classic, old, handmade looked-like. The process of the font design went through scanning and digitally carving, and the texture is well crafted and was carefully added in each character.

Ithaka is a display monospace handwriting font. The typeface is a distinct hand drawn font using a fountain pen quill ink style. The Ithaka name is derived from the legendary home of the hero Odysseus in Homer's epic poem, The Odyssey (Ancient Greek: Ἰθάκα). Ithaka is great for display work, invitations, writing, books, posters, logos and headings.

Counter Courage is a vintage-style sans serif font with an ink effect that’s perfect for industrial and vintage-themed designs. This font is equipped with the opentype feature and supports multilingual. Included in the fonts: Uppercase Lowercase Symbols & Pointing Alternate Characters Multilingual Support Get it now at an affordable price and high value for your needs. Thank You.

Spectacular Americanos & Spectacular Americanos Outline is a hand brush font made with brushes and ink. This typeface is ideal for use in thick watercolor designs or handwriting styles, such as blog titles, posters, wedding elements, t-shirts, clothing, book covers, business cards, greeting cards, branding, merchandise etc. Contains full set : Uppercase Lowercase Ligatures Punctuation number multilingual support. Thank you!

This family started as a graduation project back in 2009, coming from calligraphic studies and sketches with a broad nib pen, based on humanist proportions and inclination. From its ink and paper origins it has come a long way until the current form, being digitalized and made into fonts through the course of the last 8 years.

Newspaper headline simulating inking deficiency.

Kondes is our "101 Dalmatians" – it's 101th release in our catalog! And it is the 1st one that belongs to variable typefaces. Kondes (which is made up word as mixture of "condensed" and "kondezovan" on Serbian) is simple, compact, straight-in-your-face sans serif family with 9 weights and 9 Italics. It was designed with purpose to serve and to be use in any project, from editorial to website. For example, Black weight could be used effectively as poster type, in big sizes while Regular fits perfectly as main webfont. Stem joining is done with generous ink trap that divides and opens letter contours, so letter breaths in smaller sizes. Contains extended Latin character set. Enjoy!

I am reading a great book by David Mitchell, called Number 9 Dream. One of the characters is called Buntaro, so I decided to call my new inky font after him. Like the book, Buntaro is quite unusual: it has no real baseline, comes with some strange characters, feels familiar, but surprises you nonetheless. It was made with a broken bamboo satay-skewer, Chinese ink and a lot of patience. Buntaro comes with a wealth of diacritics.

Typewriter simulation with extreme inking imperfections.

Typewriter simulation with slight inking imperfections.

Cardboard Box type simulating inking deficiency.

Typewriter simulation with moderate inking imperfections.

The A.B. Dick Company was a manufacturer of mimeograph duplicating machines which produced copies by the process of transferring ink through an etched wax stencil onto paper. Customers had the option of purchasing various size and style lettering guides in order to create eye-catching headlines or announcements on their print projects. One such guide called ‘Modern Display’ featured a lettering style resembling Futura Black with added serifs. This is now available as Template Moderne JNL, in both regular and oblique versions.

The capitals of Register share a similar construction to Morris Fuller Benton’s 1930 Bank Gothic for American Type Founders, but iron out the broader curves and add ‘ink traps’ to emphasise the machine aesthetic. Register also provides the lower case missing from Bank Gothic. Available in two main widths, each in five weights plus reweighted italics with cursively-derived letterforms, plus a bold condensed, Register has been used for the Sochi Winter Olympics, Source magazine and releases from Transient Records.

Eckhardt Sans JNL continues Jeff Levine’s “mini series” of fonts modeled after hand-lettering used by sign painters; and named after his good friend, the late Al Eckhardt of Allied Signs in Miami, Florida. Clean and somewhat condensed, this sans face has chiseled edges on many characters and the warmth of the lettering once made by brush or ink pen. Use this font in conjunction with any casual typeface to invoke the days of sign shops and talented lettering artists.

Based on some script in the 19th century. Inky texture gives realistic handwriting appearance. Smooth writing feeling creates antiqued and nostalgic atmosphere. There are two other script designed by in the same concept. -Daisy Lau -Lily Wang -Pansy Bo

Karmina is a text typeface developed mainly for pocket books and budget editions. It was built to withstand the worst printing conditions: low quality papers, high printing speed with web presses and variations in the ink level of the printing press. Some of Karmina's most representative features are the rather large serifs, intended to work perfectly in small reproduction sizes, the sharpness of the shapes, including some calligraphic reminiscences, and the large and yet graceful ink traps in the acute connections. Structurally, Karmina combines a significantly large x-height with relatively compressed letterforms. The result of these features grants Karmina outstanding legibility and economy. Karmina features four weights and 800 characters per weight, including small caps, discretionary ligatures, fractions and a complete range of numerals for every use. It also supports over 40 languages that use the latin extended alphabet. Karmina was selected in the text typography category at the Letras Latinas exhibition 2006 and won a merit in the European-wide ED-Awards competition 2007. Karmina Basic is a reduced version of Karmina. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

This 3D lettering font was done with my inky ballpoint pen. Comes with ligatures for double lettering and alternate letters in upper- and lowercase.

Festany is script font with handlettering brush style, this is handmade ink, and with dry ink for finished the texture font. Suitable for design, element design, wedding, event, t-shirt, logo, badges, sticker, and awesome work.

“Hand Sketch Rough Pos­ter” is a hand­made, rough and dirty sans-serif dis­play font for deco­ra­tive head­line sizes. Hand drawn. A–Z (× 2), a–z (× 2) and 0–9 (× 4) are each many dif­fe­rent forms. Con­text­ual alter­na­tes. Is inten­ded to show the hand-made cha­rac­ter and the vibrancy of the dis­play font. The dif­fe­rent forms of rough­ness crea­tes a live­li­ness in the typeface. Stan­dard liga­tures like ae, oe, AE, OE, ff, fl, fi, fj, ffl, ffi, ffj and more deco­ra­tive liga­tures like CT, LC, LE, LH, LI, LO, LU, LY, TOO, TC, TE, TH, TU, TZ and ch, cl, ck, ct, sh, sk, st, sp, addi­tio­nal logo­ty­pes like BPM, fff, ppp, sfz and many more … plus Ver­sal Eszett (Capi­tal Let­ter Dou­ble S) give the font more life and shows that des­pite their retro-looks works with modern Open­Type tech­no­logy (type the word note for the sym­bol ♫ and the word love for the ding­bat ❤ … ). Sym­bols like play, stop, eject, for­ward, back­ward, skip, pause and so on. The topic for the dis­cre­tio­nary liga­tures and the sym­bols are music. Have fun with this font – turn up the volume! How To Use – awe­some magic OpenType-Features in your lay­out application ■ In Adobe Pho­to­shop and Adobe InDe­sign, font fea­ture con­trols are wit­hin the Cha­rac­ter panel sub-menu → Open­Type → Dis­cre­tio­nary Liga­tures … Che­cked fea­tures are applied/on. Unche­cked fea­tures are off. ■ In Adobe Illus­tra­tor, font fea­ture con­trols are wit­hin the Open­Type panel. Icons at the bot­tom of the panel are but­ton con­trols. Dar­ker ‘pres­sed’ but­tons are applied/on. ■ Addi­tio­nally in Adobe InDe­sign and Adobe Illus­tra­tor, alter­nate gly­phs can manu­ally be ins­er­ted into a text frame by using the gly­phs panel. The panel can be opened by selec­ting Win­dow from the menu bar → Type → Gly­phs. Or use sign-overview of your ope­ra­ting sys­tem. ■ For a over­view of OpenType-Feature com­pa­ti­bi­lity for com­mon app­li­ca­ti­ons, fol­low the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may pro­cess a little bit slowly in some app­li­ca­ti­ons, because the font has a lot of lovely rough details (anchor points). TECHNICAL SPECIFICATIONS ■ Font Name: Hand Sketch Rough Pos­ter ■ Font Weights: Regu­lar ■ Fonts Cate­gory: Dis­play for Head­line Size ■ Desktop-Font For­mat: OTF (Open­Type Font for Mac + Win) + TTF (True­Type Font) ■ Web-Font For­mat: SVG + EOT + TTF + WOF ■ Font License: Desk­top license, Web license, App license, eBook license, Ser­ver license ■ Glyph cover­age: 715 ■ Lan­guage Sup­port: Afri­kaans, Alba­nian, Alsa­tian, Ara­go­nese, Ara­paho, Aro­ma­nian, Arr­ernte, Astu­rian, Aymara, Bas­que, Bela­rusian (Lac­inka), Bis­lama, Bos­nian, Bre­ton, Cata­lan, Cebuano, Cha­morro, Che­yenne, Chi­chewa (Nyanja), Cim­brian, Cor­si­can, Croa­tian, Czech, Danish, Dutch, English, Espe­ranto, Esto­nian, Fijian, Fin­nish, French, French Creole (Saint Lucia), Fri­sian, Fri­ulian, Gali­cian, Genoese, Ger­man, Gil­ber­tese (Kiri­bati), Green­lan­dic, Hai­tian Creole, Hawaiian, Hili­gaynon, Hmong, Hopi, Hun­ga­rian, Iba­nag, Iloko (Ilo­kano), Indo­ne­sian, Inter­g­lossa (Glosa), Inter­lin­gua, Irish (Gae­lic), Istro-Romanian, Ita­lian, Jèr­riais, Kas­hubian, Kur­dish (Kur­manji), Ladin, Lat­vian, Lithua­nian, Loj­ban, Lom­bard, Low Saxon, Luxem­bour­gian, Malag­asy, Malay (Lati­ni­zed), Mal­tese, Manx, Maori, Megleno-Romanian, Mohawk, Nahuatl, Norfolk/Pitcairnese, Nort­hern Sotho (Pedi), Nor­we­gian, Occi­tan, Oromo, Pan­gasinan, Papia­mento, Pied­mon­tese, Polish, Por­tu­guese, Pota­wa­tomi, Que­chua, Rhaeto-Romance, Roma­nian, Romansh (Rumantsch), Roto­kas, Sami (Inari), Sami (Lule), Samoan, Sar­di­nian (Sardu), Scots (Gae­lic), Sey­chel­lois Creole (Seselwa), Shona, Sici­lian, Slovak, Slove­nian (Slovene), Somali, Sou­thern Nde­bele, Sou­thern Sotho (Seso­tho), Spa­nish, Swa­hili, Swati/Swazi, Swe­dish, Taga­log (Filipino/Pilipino), Tahi­tian, Tau­sug, Tetum (Tetun), Tok Pisin, Ton­gan (Faka-Tonga), Tswana, Tur­kish, Turk­men, Turk­men (Lati­ni­zed), Tuva­luan, Uyghur (Lati­ni­zed), Veps, Vola­pük, Votic (Lati­ni­zed), Wal­loon, Warl­piri, Welsh, Xhosa, Yapese, Zulu ■ Spe­cials: Alter­na­tive let­ters, logo­ty­pes, ding­bats & sym­bols, accents & €. OpenType-Features like Access All Alter­na­tes (aalt), Con­text­ual Alter­na­tes (calt), Glyph Composition/Decomposition (ccmp), Dis­cre­tio­nary Liga­tures (dlig) Deno­mi­na­tors (dnom), Frac­tions (frac), Kerning (kern), Stan­dard Liga­tures (liga), Lining Figu­res (lnum), Nume­ra­tors (numr), Old Style Figu­res (onum) Ordi­nals (ordn), Pro­por­tio­nal Figu­res (pnum), Sty­listic Alter­na­tes (salt), Sty­listic Set 01 (ss01), Sty­listic Set 02 (ss02), Sty­listic Set 03 (ss03), Sty­listic Set 04 (ss04), Super­script (sups), Tabu­lar Figu­res (tnum) ■ Design Date: 2015 ■ Type Desi­gner: Manuel Viergutz

Squalo, the genesis The idea of this project called Squalo popped into my mind while I was working with excitement on some sketches. I was chasing after a strong typographical character, something that for me has to be crystallized in form which is always legible and functional. The concept The concept of Squalo arises from the observation of an athlete’s body: you notice that even if most are lean, they are also strong, cut and chiselled. The sport they play molds and modify their bodies.  Just think, for instance, on a professional swimmer: during the competition every single muscle, tendon, tissue, cell is working to swim faster. Every single part is there to give strength and speed like in a “squalo” (shark in italian). Not as an eel, nor as a mermaid, nor as a hake. Just like a shark. If you take a quick look, you will notice that the width of the typeface is slightly more condensed than that of a standard sans serif. We designed Squalo this way specifically to assist and strengthen your concepts through stylized typography. We designed the joins and terminals (tip ends) of the characters A, V, W, Z, v, w, z, to create a feeling of “tension”, reinforcing the concept of shark, danger, caution, as well explicit, intentional movement. Pure strength. We wanted to recall the exact moment of the start of the 100 meters race: when the sprinter initially spreads all of his powerful energy. The italic version, starting with the former two typographical concepts of width and tension, emphasizes them. First of all, we compressed the characters 10 percent more, and slanted it 10 degrees to the right. With this movement I intended to convey the gorgeous feeling of tension in power and rapidity. The typeface has 9 weights, from “hair” to “black”, and two versions, “regular” and “italic”.  All 18 fonts include small caps, unicase, tabular and oldstyle numbers, numerators and denominators, and much more. Squalo is an ideal typeface that I recommend for use in marketing campaigns, design of packaging, magazines, branding for tv programs, films, book texts, editorial, publications, logos, corporate projects, web texts, and graphic design in motion. Squalo supports the following languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Belighta is an elegant handwritten script font with a clean and modern touch. This font was inspired by a handwriting with a feminine style in ballpoint ink but with clean line and the same wights. This font come with many alternate tails in lowercase that gives a unique look for your logos, business card, wedding invitations, quotes, advertisements, and more. Highly recommended to use it in OpenType capable software such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, Afinity and more. Tutorial how to Install & use Alternate / Special Character : https://hanscostudio.com/tutorial/ Enjoy!

Valfieris Aged looks as though it just came off an antique printing press. Ink has pooled in the serifs and on the corners, and the metal did not make full contact with the paper in center of the letters. Valfieris Aged includes a full set of OpenType alternates for every character in the English alphabet, swash alternates, ending swashes, titling alternates, oldstyle figures, historical forms, small caps and 64 discretionary ligatures. These ligatures are used to alter the appearance of the type so that the printing appears realistic and without any duplicate letters to detract from the antique appearance.

Linotype Dropink, from German designer Christine Voigts, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. A spirited font, Linotype Dropink may remind you of your first attempts with a broad-tipped pen or of schoolwork in days of yore. However, the blots of ink are in this case done on purpose, are indeed the highlight of the font, large and small, round and irregularly sheped. Linotype Dropink is intended exclusively for headlines/display and should be used in point sizes of 18 or larger.

Linoblox is a sans and ornaments font family made using hand-carved linoleum, based on my Bloxhall art deco font. This collection has a quirky handmade look, but can also be used in retro and vintage designs, such as collages. The fonts have a realistic ink stamp texture that will look great in logos, notes and quotes, social media posts, and branding and packaging. Linoblox includes: Linoblox font in three variations: regular, jumpy and underlined An ornaments font, with doodles, swashes, smudges and frames (Please note: this is the same set of ornaments as the Notes From Home serif font)