Decorative font Shaltai was developed by young Russian designer Katya Galuyan. The letters slightly resemble rolling, falling and broken eggs. Egg-shaped appearance of the characters determines the name of the font. Shaltai Boltai is a Russian cousin of English Humpty Dumpty, French Boule Boule and Swedish-Norwegian Lille Trille. The font can be used for advertising and display works, children books and so on. Released by ParaType in 2008.

Pusekatt means Pussycat in Norwegian. It was finished on a rather gloomy monday, which reminded me of Norway and I just like cats. There you have it: the naming of fonts explained. It ain't rocket science for sure! There is nothing gloomy about Pusekatt font: it is a very lively, happy and useful poster face. It comes with extensive language support, one alternative (yes, one) and a lot of feline grace.

Blossomy is a pictographic font consisting of 72 plant and flower illustrations, designed by kapitza. The font explores the beauty of shapes and structures in nature. The illustrations are based on photographs which have been traced by hand and are the result of a long term interest in the organic and erratic lines of naturally growing plants. The idea for Blossomy originated several years ago via a series of paintings exploring forms and structures in nature. The outlines for those paintings were traced in Illustrator and then transferred onto canvas. The outcome was so simple and beautiful that the designers decided to keep working on new illustrations and combine them in a font. Blossomy can be used as individual illustrations or to create patterns. The font covers a wide variety of flora and fauna, including pot flowers, a bonsai trees, leaves, blooms and grasses, and gives creatives a wide variety of shapes to get inspired by and use in their work.

MarshmallowPopHeart is a cute font that imagined a sweet marshmallow. Since hearts are mingled in various places such as voiced points and parts of kanji(chinese characters), it may be fun to look for it. Because the heart is missing, it is recommended for when you want to designing cute. I think whether it's good for contents for young ladies. Because it is a thick font, it may be good to use it for headlines and where you want to make it stand out. It corresponds to Hiragana · Katakana · Alphabet · Numerals · Symbols · Kanji(chinese characters). You can also write vertically. You can use it easily, because it contains JIS first · second level, and IBM extended Kanji(about 6700chinese characters). I think it's better to become a font that makes people who use or watch them fluffy and feel happy like when eating a pastel colorful sweet marshmallow. ＜「ましゅまろポップ　ハート」紹介文＞ ぷにぷにの丸っこい甘いマシュマロをイメージしたかわいいフォントです。 濁点や漢字の一部など、色んな場所にハートが紛れ込んでいるので、探してみるのも楽しいかもしれません。 ハートが紛れ込んでいるので、かわいくデザインしたい場合などにオススメです。 若い女性向けコンテンツにもいいかと思います。 太めのフォントなので、見出しや目立たせたい所に使うのも良いかも知れません。 ひらがな・カタカナ・アルファベット・数字・記号類・漢字を収録、縦書きもできます。 漢字はJIS第一水準・第二水準・IBM拡張漢字に対応（約6700文字）してますので、使い勝手も良いかと思います。 パステルカラーのカラフルな甘いマシュマロを食べる時みたいに、使ったり見てくださる方がふわふわ幸せな気持ちになれるフォントになればいいなぁ…と思います。 ＜スタイルカテゴリー＞ ファンシー、装飾

One of my favorite blackletter fonts - Schwabacher - redrawn and redesigned, whereby I took care to stick to the original forms as close as possible. This font which has its roots in the 15th century represents at the most the uprising humanism in this period. To get access to all ligatures, it is recommended to activate both Standard and Discretionary Ligatures. By using the OT feature Stylistic Alternatives you get the historical German umlauts which are small e above a, o, u, A, O, and U. This font contais also oldstyle figures.

The Pop Cubism fonts are inspired by Roy Lichtenstein who combined the strong outlines and benday dots of Pop Art with the fragmented viewpoints and facet line divisions of Cubism. The bold letterforms are derived from a variety of styles, both serif and sans, angular and rounded. Pop Cubism is available in two packages: Pop Cubism Shaded is a single font which contains the lines and dot tones for use in a single color. The Pop Cubism Color Kit contains three matching fonts (Pop Cubism Outline, Pop Cubism Halftone Underlay and Pop Cubism Color Underlay) for overlaying different colors of lines, dot tones, and background color.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Pilot Point is based on an older font found in Dan X. Solo’s book on Circus Type; the designation fits perfectly. The font gets its name from a small town in Northeast Texas, where several scenes from Arthur Penn’s Bonnie and Clyde were filmed. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

I admit: I had a bit of a crazy week when I thought up an drew this font. I broke my arm during kickboxing training on monday, leaving me in a cast - unable to do most everyday things, like getting a good night's sleep (try sleeping with a humongous cast on your arm). Thank goodness, it is my left arm, so I can still draw letters and use my laptop. So… this font has been made entirely using one arm! It is a bit of a horror font - it sort of sums up my mood right now. Glyphs have very little spacing, adding to the evil look of Plague Master. Comes with a lethal amount of diacritics.

An indomitable woman who traveled a lot, Emily Austin (Bryan) Perry was one of the children of Moses Austin, of Austinville, Virginia. Like her famous brother, Stephen F. Austin, she settled in Texas as one of that region's earliest colonists. While traveling about seeking treatment for a sickly daughter, she wrote many letters home -- letters that show a distinctively compact, legible hand. The challenge for me in designing the face: resisting the temptation to read and re-read her bossy directives and urgent appeals, all packed tightly together on a page. Emily Austin has a complete character set, and then some.

The Narsinh Series (from the 1940 Gujarati Type Foundry of Bombay, India) is a modular metal font comprised of 32 basic shape pieces which would be assembled into any configuration to form various letters and numbers. Examples of the alphabet and numerals were set in an Art Deco, condensed sans serif and were the basis for this type revival. Strongly resembling a stencil design, the typeface was named after the revered 15th-century poet-saint of Gujarat, India Narsinh Mehta, and the foundry itself gets its name from the language and script of Gujarati [spoken by the Indo-Aryan residents of the Indian state of Gujarat]. Divided Highway JNL is the digital version of this design, and is available in both regular and oblique versions.

Introducing Megatropolis : intellectual, architectural, urban and urbane. What started as an idea where the counters would be letters (3 scribbled glyphs on a piece of scrap paper), has grown into a mighty font family of eight stackable fonts. First came Megatropolis itself, a Deco font within a Deco font; Double Deco, you might say. In Illustrator, you can deconstruct it to make solid letters, outline letters or just the inset letters on their own, and you can stack them how you wish. Or you can get the whole Megatropolis family with Black , Outline , Inset , Smog , Shade and Shade with Inset and keep them all separate stackable, editable fonts. In addition, there’s Megatropolis Benday (available in TT only), with its fabulous stackable comic dots. Megatropolis is a typographer’s playground.

I make this font imaging rounded candy, this theme is cute and round but you can use scenes less often. Because the circle is interrupted in places such as voiced points and parts of kanji(chinese characters), it may be fun to look for it. It corresponds to Hiragana · Katakana · Alphabet · Numerals · Symbols · Kanji(chinese characters). You can also write vertically. You can use it easily, because it contains JIS first · second level, and IBM extended Kanji(about 6700chinese characters). This font is bold, recommended to use it for headlines and prominent places. It might be good for shop pop etc. Because it is soft, pop and cheerful impression, I recommend it for contents for children. About the name, I like Osaka, and I thought "This font's name that is loved by everyone", and since the sound is also cute, I attached the word "Amechan". I heard they called candy as "Amechan" in Osaka, and some madam in Osaka always have candy, and give it to people. I think this font gives happy feeling to you and people look it, like madam in Osaka gives "Amechan". ＜「あめちゃんポップ　まる」紹介文＞ ころころ丸っこい飴玉をイメージして、「丸くてかわいいけどシーンをあまり選ばずに使えるフォント」をテーマに作りました。 濁点や漢字の一部など、所々に丸がまぎれてますので、探してみるのも楽しいかもしれません。 ひらがな・カタカナ・アルファベット・数字・記号類・漢字に対応。縦書きもできます。 漢字はJIS第一水準・第二水準・IBM拡張漢字（約6700文字）に対応しているので、使いやすいかと思います。 太めのフォントなので、見出しや目立つ場所に使うのがオススメです。お店のポップなどにもいいかもしれません。 柔らかくポップで元気な印象なので、子供向けのコンテンツにもオススメします。 名称については、大阪が好きなのと「皆に愛されるような名前を」と思って、響きも可愛いので「あめちゃん」という単語を名前につけました。 大阪では飴のことを「あめちゃん」と言うらしく、大阪のおばちゃんの中にはいつも飴を持っている方もいるそうで、色んな人にその飴をあげるそうです。 大阪のおばちゃんが「あめちゃん」をくれる時みたいに、使ったり見てくださる方の心があったかくなるようなフォントになればいいなぁ、と思います。 ＜スタイルカテゴリー＞ ファンシー、装飾

In designing an advertising poster to show off the unconventional Safefont typeface, Steve drew what appeared as relatively traditional letterforms for the expository text. When these characters were as well received as the typeface which was the subject of the poster, Steve decided to expand them into a full-fledged graffiti style typeface of their own. While exploring where this new design might lead, Steve worked to elaborate the poster segment which had inspired it. He soon found himself staring at a drawing of a weapons-wielding Bonnie and Clyde. The desperate duo resonated with the graphic elements of the drawn letters; thus leading to the effortless fleshing out of the design, and to its name, Big Clyde.

It’s a brand new year, but I have been going back in time. To the seventies to be precise. A ‘bubblegum’ font was on the top of my to-do list, so when it was finally finished, it reminded me of seventies posters. As if by magic, a catchy bassline started playing in my head and before I knew it, Boney M appeared - all dressed up in Purple and singing Daddy Cool. Cool Daddy is a fat, rounded bubblegum font, which will take you back to the decade of moustaches, afros and glitter. This ultra groovy font will funk up your designs 4-sho. So boogie on, take it back to your crib and get down with it. You diggin’?

It is a cute font that imaged a circle that was popular among young Japanese girls in the 1970s and 1980s, plus elements of the current round character as well. The momentum of the circle fads of the 70s and 80s back then seemed to have been great, and it seems that there were schools that prohibited the use of the round letters as students were all writing, too. In addition, a circular letter contest was held, and it seems that the work selected from many entries was released as a phototype. I tried to round up to the limit while incorporating the elements of that circle and the elements of the round letters that the current Japanese girls would write. It corresponds to Hiragana · Katakana · Alphabet · Numerals · Symbols · Kanji(chinese characters). You can also write vertically. You can use it easily, because it contains JIS first · second level, and IBM extended Kanji(about 6700chinese characters). I think that it is an eye-catching design although it lacks a little on readability, so it is also recommended to use it point-wise. The name "Hachimaru" is a thing that touched "80" in the 1980s. The 80s is one of my favorite times. I think that the power to young girls 'Kawaii' such as circle letters, fancy goods and idols was a very strong era. I hope I can express even a little "Kawaii" culture of that unique and unique 80's Japan. ＜「はちまるポップ」紹介文＞ 1970年〜80年代に、日本の若い女の子の間で流行した丸文字をイメージし、現在の丸文字の要素もプラスしたかわいいフォントです。 70〜80年代当時の丸文字の流行の勢いは凄かったらしく、学生さんもみな書いていたそうで、丸文字の使用を禁止する学校もあったそうです。 また、丸文字のコンテストが行われ、多数の応募から選ばれた作品が写植書体としてリリースされたこともあるそうです。 その丸文字の要素と、現在の日本の女の子が書くような丸文字の要素も取り込みながら、極限まで丸っこくしてみました。 ひらがな・カタカナ・アルファベット・数字・記号類・漢字に対応しており、縦書きもできます。 漢字はJIS第一水準・第二水準・IBM拡張漢字に対応（約6700文字）しているので、使い勝手も良いかと思います。 可読性には少々欠けますが目を引くデザインだと思うので、ポイント的に使うのもオススメです。 名称の「はちまる」は80年代の「80」をもじったものです。 80年代は私の好きな時代の1つです。丸文字をはじめ、ファンシーグッズやアイドルなど、若い女の子の「かわいい」へのパワーがとても強い時代だったんだなぁと思います。 その個性的で独特な80年代日本の「かわいい」カルチャーを少しでも表現できてればいいなぁと思います。 ＜スタイルカテゴリー＞ 手書き風、丸ゴシック

Comicraft's latest joint has us swollen with pride! This one caps 'em all! Yes, it may look a little bony and stick out at right angles to our shins, but we reckon we'll win the a whole bunch of contests with this one... if we get up off our haunches and hobble up on stage. Trust your knee jerk reaction and download KnobblyKnees now, they look good on Kate and Angelina, they'll look good on you too! Features: Five fonts (Regular, Bold, Light, Broken & Open) with upper and lower case characters.

Trapped home during the Coronavirus outburst of March 2020 the Zetafonts team found some solace from the world-wide anxiety by designing letters for the #36daysoftype challenge. To fight dark thoughts and spread some good karma we decided to add a free font twist, selecting the best glyphs drawn to develop a collection of ten free typefaces for download. We did our best to make this little gift to the community valuable, though developed in record time: although playful and excessive, these typefaces all stem from our current research in contemporary trends and historical design solutions, bridging calligraphy and design. The typefaces have been published daily starting Monday, March 30. You can download and use the typefaces in any way you desire, as they are totally free for commercial and non-commercial use. We are not asking anything back, but feel free to share the good karma and, if you want, please consider a donation for hospitals.

I arrived this concept as a means to fulfil a need for a simple yet radical semi-sans with rounded terminals. My concept called for a modular approach so a single weight font family resulted, the monoline stroke weights being one-eighth of the cap height and the x-height five-eights, the descent two units. Within these constraints I found it was simple to devise an alphabet which met my need for quirkiness whilst retaining its legibility. As for the outline, shadow and contour variants - well they just seem to work. If you are wondering - and you don't hail from the "Land Downunder" - Canberra is our nation's capital; Bondi - "water breaking over rocks" a beautiful beach in Sydney; Uluru is the name given to the world's largest pebble, (formerly known as Ayers Rock); Kakadu is a national park in the "Top End" and Koomerang means "hill of clouds" - all place names in their respective Australian indigenous languages. Come on down - the natives are friendly.

Kate Slab Pro is a sophisticated and robust modern Slab Serif Typeface that works in a variety of design scenarios. It is designed to work in big attention grabbing headlines as well as in smaller text and even body text. The recognition value of Kate Slab Pro is its biggest asset in world of uniformity. Ranging from "100 Thin" all the way to "900 Black" makes Kate Slab Pro such an amazing and versatile font family that stands out. Kate Slab Pro doesn’t only work great in lifestyle and fashion related contexts but will also look amazing for restaurants, coffee shops or and other use cases that ask for character and identity. To fill all the gaps of a designer's needs, Kate Slab Pro comes with an italic style with every weight. Those italics are equipped with unique and real italic characters and will make you love it. Being a Slab Serif Kate Slab Pro manages to remind you of a classic Font Family with a modern and timeless approach that will make you happy for decades. Monday Type can’t wait to see the beautiful designs you are going to create with our Kate Slab Pro.

Kate Slab Pro Ultra Expanded is a sophisticated and robust modern Slab Serif Typeface that works in a variety of design scenarios. It is designed to work in big attention grabbing headlines as well as in smaller text and even body text. The recognition value of Kate Slab Pro Ultra Expanded is its biggest asset in world of uniformity. Ranging from “100 Thin” all the way to “900 Black” makes Kate Slab Pro Ultra Expanded such an amazing and versatile font family that stands out. Kate Slab Pro Ultra Expanded doesn’t only work great in lifestyle and fashion related contexts but will also look amazing for restaurants, coffee shops or and other use cases that ask for character and identity. To fill all the gaps of a designer’s needs, Kate Slab Pro Ultra Expanded comes with an italic style with every weight. Those italics are equipped with unique and real italic characters and will make you love it. Being a Slab Serif Kate Slab Pro Ultra Expanded manages to remind you of a classic Font Family with a modern and timeless approach that will make you happy for decades. Monday Type can’t wait to see the beautiful designs you are going to create with our Kate Slab Pro Ultra Expanded.

Kate Slab Pro Expanded is a sophisticated and robust modern Slab Serif Typeface that works in a variety of design scenarios. It is designed to work in big attention grabbing headlines as well as in smaller text and even body text. The recognition value of Kate Slab Pro Expanded is its biggest asset in world of uniformity. Ranging from “100 Thin” all the way to “900 Black” makes Kate Slab Pro Expanded such an amazing and versatile font family that stands out. Kate Slab Pro Expanded doesn’t only work great in lifestyle and fashion related contexts but will also look amazing for restaurants, coffee shops or and other use cases that ask for character and identity. To fill all the gaps of a designer’s needs, Kate Slab Pro Expanded comes with an italic style with every weight. Those italics are equipped with unique and real italic characters and will make you love it. Being a Slab Serif Kate Slab Pro Expanded manages to remind you of a classic Font Family with a modern and timeless approach that will make you happy for decades. Monday Type can’t wait to see the beautiful designs you are going to create with our Kate Slab Pro Expanded.

The idea that mathematical precision and the supposed "purity" of geometric forms are part of the discourse of us graphic designers is not new. Studying typography for some time now and learning about all the small alterations and adjustments that this geometry undergoes to better adapt to the imperfect human eye, I found myself with a new way of seeing things. Compasso is, in a way, a result of my growth as a designer. Established and recognized fonts like Futura, Avenir, and their predecessors (including Tempo - published by the Ludlow foundry in the early 20th century) informed the result of Compasso at some level. Others opened my mind to possibilities. Mallory, Azo Sans, the font designed for Audi by Bold Monday, and many other contemporary sans-serif fonts that left me speechless are also responsible for details present in this font. From the first sketch, the family grew on both sides, gaining condensed and extended counterparts. From there - and from a brilliant insight from designer Nicole Rauen - I learned that Compasso was not about geometry. Compasso is about rhythm. It's about the rhythmic movement that provides a foundation, supports, and also makes you dance and swing. My musical taste is too eclectic, I can go from classical to funk in less than two songs on Spotify. Compasso is also eclectic. It's a font to take your project anywhere, a record to listen to on any occasion.

Have you ever used a handwritten font on your design project? Have you ever felt bored or dissatisfied with its glyphs style that looks stiff and doesn't flow even doesn't really characterize the peculiarities of a handwritten font? Or fonts that don't have alternative glyphs so they look monotonous in a word or even sentence. And in the end, it makes your projects so far from your expectations, even your clients. It's so frustrating, isn't it? Just wake up from your dissatisfaction and this is your time to make a good choice for your design project. So, we have a solution to fix it. We introduce 'Stylish Classy' just for you. This is a font that really characterizes from the handwritten style. This font is crafted carefully in every its single scratch, created to look as close to a natural handwritten script so that it can create the perfect combination on each glyph. When we make this font, we really want to create a touch that is so free-flowing that it gives a natural impression on its use later. For example, if you want letter 's' that has a flow sketch with letter 't', you can find it in 'st' ligature glyph. So if you really want a so natural and flowing touch in your project, Stylish Classy Font gives you 210 Natural Ligatures ( combining of two or more letters in a glyph ), Two Alternates, and Slant Version. Stylish Classy is a fashionable handwritten script font and obviously it's so Stylish and Classy :) Stylish Classy Font offers beautiful typographic harmony for your design projects diversity e.g. logos & branding, wedding designs, social media posts, advertisements, product designs, quotes, watermark, photography, poster design, magazine, stationery, or simply as a stylish text overlay to any background image. - Included Languages support: Afrikaans, Albanian, Catalan, Danish, Dutch, English, Estonian, Finnish, German, Icelandic, Indonesian, Italian, Norwegian, Malay, Portuguese, Spanish, Swedish, Zulu. - All Natural Ligatures (210 Glyphs): Bh Cl Cr Cs Ct Cy Hy Jh Ji Kh Kl Lo My Mrs Mr Mt Si Sl Sp Sp St St1 St2 St3 Ul1 Un1 Ut1 Ul Un Ut Wh Yo aa ab ab1 ab2 ak1 all ant app arr art ask ast at at2 at3 at4 att af ah aj ak ak1 al al1 an ap ap ar av bb1 bb cc ch ck co ct dd ever ee1 ee2 ent er1 err ett ee ek el en er es et ff1 ff2 ful ff fi gg1 gh gh2 ght gn1 gf gg gh gi gl gn hh ight ill1 ill2 it's itt1 if1 ill ion ism it1 it2 ith itt ity if ii il it jj1 jj kk ll1 ll2 la lh ll most nt oll on2 on1 op1 ops or1 orr oth ous of oh ok ol om on oo op or ot ow ox oz ph pp pt rk1 rta rk rr rt sl1 sl2 sl3 ss1 ss2 st1 st2 st3 st4 st5 st sh si sl sp ss st the tt1 tt2 th to tt tv ty ull ure ut1 ut2 ut3 us ut ve vs wh wt yl1 yl2 yl3 you yr yr2 yl yn yr mm1 mm2 mm3 mm ms nn1 nn -Swash on pictures are not included

Western Americana is a unique collection of signatures of 72 famous American frontiersmen, gunslingers, Wild West personalities, outlaws, and Indians in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of history, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous Western celebrities. This font includes signatures from the following American West personalities: William Frederick Cody ("Buffalo Bill"), George Armstrong Custer, Meriwether Lewis, William Clark, Kit Carson, Joseph Brant, David Crockett, Wyatt Earp, Geronimo, James Bowie, Daniel Boone, Sam Houston, Calamity Jane, Sitting Bull, William H. Bonney ("Billy the Kid"), Cole Younger, Bob Younger, Jim Younger, Pat Floyd Garrett, James Butler "Wild Bill" Hickok, Squire Boone, Samuel Colt, Gordon William Lillie ("Pawnee Bill"), Annie Oakley, William Barret Travis, Allan Pinkerton, Jose de Galvez, George Rogers Clark, George Crook, John Charles Fremont, George Croghan, Simon Kenton, Maj. Frederick Benteen, James Wilkinson, Nelson Appleton Miles, Philip Kearny, Chief G.H.M. Johnson, William George Fargo, William Barclay "Bat" Masterson, King Philip, Frank James, Eleazer Williams, Henry Wells, Junipero Serra, John Sevier, John Ross, Joseph Virgo, Chief Joseph, Red Jacket, Manuel Lisa, Julian Dubuque, John Augustus Sutter, Manuel Lisa, Jesse James, Jesse James alias Thomas Howard, Manasseh Cutler, Robert Newton Ford, Emmett Dalton, Henry McCarty alias Greenville Mellen Dodge, Edward Zane Carroll Judson ("Ned Buntline"), Rain-in-the-Face, James Robertson, Zebulon Pike, Chief Two Guns White Calf, Pierre Chouteau Jr., Frank Butler, Isaac Shelby, Moses Austin, Moses Cleveland, Rufus Putnam, Pierre Chouteau Sr., Father Pierre Jean De Smet, and Auguste Chouteau. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

American Revolution is a unique collection of signatures of 84 key personalities from both sides of the American Revolutionary War, one of the supreme dramas in history. A must-have for autograph collectors, desktop publishers, history buffs, or anyone who has ever dreamed of sending a letter, card, or e-mail “signed” as if by one of these famous Revolionary War figures. This font includes signatures from the following American Revolutionary War personalities, from both sides: Ethan Allen, Charles T. Armand, John Armstrong, Benedict Arnold, Pudhomme de Borre, John Cadwalader, George Rogers Clark, George Clinton, James Clinton, Thomas Conway, William Davidson, Philippe du Coudray, The Chevalier Louis Lebegue dePresle Duportail, Chistopher Gadsden, Horatio Gates, Moses Hazen, John Glover, Mordecai Gist, Nathaniel Greene, William Heath, Edward Hand, John E. Howard, Robert Howe, Isaac Huger, William Irvine, Henry Knox, Baron Johann de Kalb, Tadeusz Kosciuszko, Marquis de Lafayette, Charles Lee, Henry Lee, Andrew Lewis, William Maxwell, Benjamin Lincoln, Francis Marion, James Moore, Daniel Morgan, William Moultrie, Peter Muhlenberg, Alexander McDougall, Lewis Nicola, Lachlan McIntosh, John Nixon, Hugh Mercer, Samuel H. Parsons, Thomas Mifflin, John Paterson, Richard Montgomery, Andrew Pickens, Charles Cotesworth Pinckney, Enoch Poor, Count Casimir Pulaski, Israel Putnam, Joseph Reed, Elisha Sheldon, Arthur St. Clair, William Smallwood, Philip Schuyler, John Stark, Charles Scott, Adam Stephen, John Sullivan, Jethro Sumner, Thomas Sumter, James Varnum, Baron Friedrich Wilhelm August Heinrich Ferdinand von Steuben, Lord Stirling, Artemas Ward, Joseph Warren, George Washington, Anthony Wayne, James Wilkinson, Otho H. Williams, John Paul Jones, William Woodford, David Wooster, John Burgoyne, Sir Guy Carleton, Charles Cornwallis, Sir Henry Clinton, Sir Thomas Gage, Richard, Earl Howe, Sir William Howe, Sir Banastre Tarleton. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

Get in touch with Tipogra Fio and get inspired by Guaruja Neue specimens. Guaruja Neue is a neo-grotesque typeface with additional industrial traits to it, such as open corners in diagonal glyphs and short curves. The semi-cursive italics shapes, more than an orthographic matter, give sea waves for the headlines and copies that Guaruja Neue will compose, since it is named after a city on the coast of São Paulo, Brazil. Stylistic alternates, ligatures, ordinals, arrows and emojis give extra personality for texts that cross millennial and modernist concepts, going from a comprehensive Latin script, including Vietnamese support, until a basic Cyrillic set. Brazilian music tells the graphic story of Guaruja Neue specimens, songs that speak about beaches and the city of Guarujá, as well as the inspiration of 50’s and 60’s modernist design and the music movement of Bossa Nova. This family is also an evolution of Guaruja Grotesk (2021), a typeface with four fonts —Regular, Italic, Bold and Bold Italic— developed as part of a design school project, that now in Neue gains professionalism, refinement and knowledge. Guaruja Grotesk took 18 months to make, and Neue took additional 12 months of redrawing and rethinking, as design as processes. Part of the project got feedback from the typeface designer Ulrike Raush, under the Alphabettes mentorship program. Overview and features: 8 weights and 8 italics; 2 free fonts: Guaruja Neue Regular and Guaruja Neue Italic; Extended Latin and basic Cyrillic; 800+ glyphs; Numbers: proportional, tabular, superscripts, subscripts, denominators, numerators and fractions; Greek for math; Case-Sensitive forms; Arrows; Standard and discretionary ligatures; SS01: one story a and SS02: two story g; Emojis and SS03: negative alternate emojis; Ligatures for English ordinals;

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. ITC Founder's Caslon® was created in 1998 by Justin Howes, an English designer who used the resources of the St. Bride Printing Library in London to thoroughly research William Caslon and his types. As was common in the eighteenth century, Caslon had punchcut several different sizes of his types, and each size had a slightly different design. Howes digitized every size of type that Caslon cast, keeping their peculiarities and irregularities and reproducing them as they appeared on the printed page. This family has the 12 point, 30 point, 42 point, and Poster styles, as well as a full set of bona fide ornaments. In keeping with the original Caslon types, none of the sizes have bold weights, the numerals are all old style figures, and a full set of ligatures (some with quaint forms) are included. ITC Founder's Caslon® is a remarkable revival in the true sense of the word, and works beautifully in graphic designs or texts that require an authentic English or historical flavor.

Roller Poster is named after Alfred Roller. In 1902, Roller created a poster to advertise the 16th exhibit of Austrian Artists and Sculptures Association, representing the Vienna Secession movement. The exhibit was to take place in Vienna during January & February 1903. The location is not mentioned because everyone in Vienna knew it would be held at the exhibit hall in the Secession Building at Friedrichstraþe 12, a few blocks south of the Opernring, near the Naschmarkt. Designed by Joseph Maria Olbrich in 1897, the buiilding has been restored and stands today as one finest of the many fine examples of Art Nouveau architecture in Vienna (see vienna_secession_bldg.jpg). Because of its dome, it is called “the golden cabbage.” The poster itself is unique. The word “secession” is in one type style and takes up two-thirds of the elongated poster. At the bottom of the poster are the details in a different lettering style. It is this second style at the bottom that is the basis for the font Roller Poster. In keeping with our regular naming conventions, we were going to call it Roller Gezeichnete (hand-drawn), but the wonderful play on both words and the shape of the three S’s in secession was too compelling. In November 1965 there was an exhibit of Jugendstil and Expressionist art at the University of California. Alfred Roller’s Secession Poster was part of that exhibit. Wes Wilson was designing promotional material at Contact Printing in San Francisco. Among their clients was a rock promoter named Bill Graham, staging dance-concerts at Fillmore Auditorium. Wilson saw the catalog from the UC exhibit and Roller’s lettering. Wilson adapted Roller’s letter forms to his own fluid style. The result was the poster for the August 12-13, 1966 Jefferson Airplane/Grateful Dead concert at Fillmore put on by Graham (BG23-1). Wilson continued to use Roller’s letter forms on most of the posters he did for Graham through May 1967, when he stopped working for Graham. The posters were extremely successful and the lettering style along with Roller’s letter forms were picked up by other artists, including Bonnie MacLean, Clifford Charles Seeley, James Gardner, and others. The Secession poster and the Fillmore posters have inspired a number of fonts in addition to ours. Among them are JONAH BLACK (& WHITE) by Rececca Alaccari, LOVE SOLID by Leslie Carbarga and MOJO by Jim Parkinson. Each is different and yet each clearly shows its bloodlines. Our font differs in two ways: 1) the general differences in the interpretation of the letter forms and 2) the modification of the basic letter form to incorporate the diacriticals within the implied frame of the letter, after the manner of the original design by Roller. We borrowed Carbarga’s solution to the slashed O and used it, in a modified form, for other characters as well to accomplish the same purpose. We recommend that you buy ours and at least one of the other three. According to Alaccari, a version called URBAN was released by Franklin Lettering in the 70’s (and is shown on page 51 of The Solotype Catalog). For comparison of our font to original design, see image files roller_poster_2s.jpg of original poster and roller_poster_2sx.jpg showing reconstruction using our font for the lower portion (recontructed area indicated by blue bar). Please note the consistency of character width. In the lower case, 23 of the basic 26 letters are 1/2 EM Square wide. The ‘i’ is an eighth narrower, while the ‘m’& ‘w’ are one quarter wider. All the Upper Case letters are 1/8 EM wider than the lower case. This is to make it easier to fill a geometrical shape like a rectangle, allowing you to capture a little of the flavor of Wes Wilson’s Fillmore West poster using only a word processor. We have also included a number of shapes for use as spacers and endcaps. If you have a drawing program that allows you to edit an ‘envelope’ around the letters to distort their shape, you can really get creative. I used Corel Draw for the gallary images, but there are other programs that can accomplish the same thing. The image file “roller_poster_keys.jpg” shows the complete character set with the keystrokes required for each character (see “HiH_Font_readme.txt” for instruction on inserting the non-keyboard characters). The file “roller_poster_widths.jpg” shows the exact width of each character in EM units (based on 1000 units per EM square). You will notice that the font is set wide for readability. However, most programs will allow you to tighten up on the character spacing after the manner of Roller & Wilson. In MS Word, for example, go to the FORMAT menu > FONT > CHARACTER SPACING. Go to the second Drop-Down Menu, labeled ‘Spacing’ and select "condensed' and then set the amount that you want to condense ‘by’ (key on the little arrows); two points (2.0) is a godd place to start. Let your motto be EXPLORE & EXPERIMENT. Art Nouveau has always been one of my favorite movements in art -- I grew up in a home with a couple of Mucha prints hanging on the living room wall. Perhaps because of that and because I lived through the sixties, I have enjoyed researching and designing this font more than any other I have worked on. Let’s face it (pardon the pun), Roller Poster is a FUN font. You owe it to yourself to have fun using it.