John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

Say hello to Eatboy font. Made with love and joy. Comic look, Bold, Thick, so it will make your design more beautiful, cute, fun, and colorful. It comes In two awesome styles, regular and italic.

Lebensjoy was used by the Co-op chain stores in Sweden for a nationwide fortnightly flyer (called Livsgldje = Joy of Life) during 1993 and 1994. They wanted a simple but still lively and active letterform.

FM Easter Pro consists of 26 hand-lettered Easter greetings like Happy Easter, Easter Joy, Easter Greetings etc. All the words and phrases are original and handwritten - a high quality calligraphy for your holiday projects.

If John Baskerville had been born in Seattle in the 1960s his type would have looked like Nirvanium: a wide, extended body with chunky Dr. Martin serifs, an assertive inelegance and a sense of rebelliousness. It�s a display face, too big, too chunky and too rambunctious for text, but always friendly.

In 1994, John Benson designed Balzano, Alexa and Caliban, three typefaces with a similar calligraphic character. Balzano differs from the other in its vertical figures, adding a static element to the otherwise lively, flowing components. Balzano is good for short texts and headlines, anywhere in which a personal, elegant look is desired.

British type designer John Critchley created this display FontFont in 1995. The family has 6 weights, and is ideally suited for festive occasions, film and tv as well as poster and billboards. FF Bull provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures.

HU mobydick is a body font with square modules and a wide space composition. Sharp right-angled joints and strong endings. And thin strokes are combined to complete a harmonious typeface for body text. The gray level of the body text is set low, so it can be used for light work.

Jan Regular combines an experimental, bold, mono-weight geometric sans serif with the Arabic writing system's means of joining letters. Adding in script-like letter connections, a feature that is found in both western cursive and Arabic type, as well as distinctly Arabic-like accents above and below certain letters, Michael Parsons has created a cross cultural typographic statement. Jan Regular is best used for headlines, and small strings of text, in sizes large enough to view and appreciate the unique counter forms within the letters. This font is one of 10 creations from the young Swiss designer Michael Parson included in the Take Type 5 collection, from Linotype GmbH."

Queen is based on the designer's own hand. It is a handwriting font with a difference (just like Affable). It has all the vigor and spontaneity of a hurried note, combined with a skilled and precise joining of characters to give a true cursive script. This font comes in three styles, Queen Regular, Queen Black & Queen Lite. Use Queen for: -- invitations -- advertising material where an informal and personal mood is required -- greeting cards -- menus -- book covers Queen is fully professional, carefully letterspaced and kerned, with line spacing (leading) that allows for accents for use in European languages. All upper and lower case characters, punctuation, numerals and accented characters are present.

Indoo is a modular geometric design that owes much to the typeface designs of Theo van Doesburg (1883-1931) and the De Stijl principles of abstraction, simplicity, clarity and harmony. That inspiration, combined with the lettering of signage often found in the Indian quarter of Paris, led to the connecting block letter motif of Indoo. The text fonts are joined by a common horizontal stroke positioned at the baseline. There is an accompanying Ornament font for building borders that includes various stylized fleurons and the like. Each font has a drop shadow companion that allows you to build three-dimensional and multi-colored lettering.

A single-weight display font, Steel Grrrder Nutjob is an industrial-style stencil with a nut device. It’s best used in short display settings or as an introductory drop cap to grab attention. The capital letters sport an open nut while the lowercase letters feature a solid nut. It’s not the most legible design, but if you’re after a robust display font with an element of nuts, this will do the job perfectly. The Steel Grrrrder extended family also includes a six-weight sans-serif with corresponding italics, a six-weight joining script and a display font, Groove - all designed to work with each other.

Ligaturess Serif is a modification of Textworthy Serif. This modification contains 79 uppercase ligatures. 59 lowercase ligatures. And 493 ligatures with diacritics marks. Ligatures are groups of letters joined together and usually compensate for the free space between individual letters. Ligaturess Serif, in addition to the basic ligatures - fi, fl... - also includes superstandard ones - CA, OO, ST, SS, VA... -. Text set in Ligaturess Serif has a unique and interesting look. The font works well in headings. And when using capital letters. A book cover, a chapter title, an inscription on a poster or even an interesting logo are the places for which the Ligaturess Serif font was designed.

Altman Grotesk was initially planned as an internal studio typeface for the graphic design studio Ateljé Altmann based in Stockholm, Sweden. After thoroughly researching both classic and contemporary sans serif typefaces, the aim for Altmann Grotesk was set at joining unobtrusiveness yet distinctiveness in one look. As a result, the sans serif successfully embraces a polarizing image of minimalism and uniqueness. During the design process of Altmann Grotesk, it soon became clear that it had the potential to be more than a studio typeface—which ultimately led to a sans serif font family with five distinctive weights that are perfected to fit every possible typography use case.

Jim Spiece has a taste and a talent for reviving type styles from earlier in this century. ITC Deli Supreme is a “futuristic retro” face that would be at home as a logo on a car or a roadside diner from the 1940s or '50s; the lowercase nearly joins, in script style, thanks to the long extenders stretching out from the bottom-right corner of most letters, while the caps have beginning strokes leading in from the top left. ITC Deli Supreme, like ITC Deli Deluxe, features slightly rounded corners on all the letters, for a soft, streamlined look despite the squareness of the letterforms.

Modesto Open is now a Chromatic Font Family. The old font Modesto Open has been improved, renamed Modesto Open Primary and joined by four new fonts that ornament and augment the Primary font in many different ways. All Caps. Modesto is a loose-knit group of Font Families based on a signpainting lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Bailey Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 seven new Italic fonts and two Chromatic families were added.

Work on Scene began some time after designer Sebastian Lester joined Monotype Imaging in 2000. Clean, calm, and highly legible — thus the design brief Lester set for himself. With Scene, he wanted to provide graphic designers and creative directors with a suite of fonts that would serve as a strong foundation for identity projects, incorporating what he had learned about on-screen and print legibility. Scene was developed during two years of after-hours and weekend work. The family comes in six weights with matching italics, there is a set of “semi-sans” characters to introduce more expressive word rhythms into headlines and blocks of copy.

Espíritu is the first font illustrated and designed by talented Graphic Designer, lettering artist, illustrator and musician Agustín Pizarro Maire. For this entirely made-by-hand project, Agustín pushed his limits forward, significantly improving his notions in the type field, by applying his expertise and experience as an illustrator and letterer. With Type Direction and design assist by Guille Vizzari, both joined forces to face this voyage together. The result is a peculiar font family that seeks for a free spirit, one that is imperfect and unpretentious. With its soul deeply rooted in wanderlust, just enjoying the journey, like an endless road trip. Espíritu is a type family guided by the impulse of the hand, getting lost in the details of infinite drawn letters and icons, that perfectly fit meticulous designs, achieving also great impact when needed. Espíritu consists of five styles that complement each other to get different voice tones for each kind of design piece. Espíritu Regular, the heaviest one and most versatile; Espíritu Condensed, for tall and compact compositions; Espíritu Expanded, a wide serif style that’s great for billboards and short messages; Espíritu Script, a mono-weight cursive to add softness to the family; and finally a huge set of illustrations, symbols, badges and more in Espíritu Dingbats. Each of the alphabetical fonts offer an overflowing amount of alternates, swashes, and ligatures to maximize their capabilities. To all the wild spirits out there, meet Espíritu, join the ride.

Our eye is able to join missing parts of worn letters back into undisturbed shapes. We tend to see things better than they really are. Thanks to this ability we ignore faults of those close to us as we can’t accept the fact that every once in a while we convene with an impaired entity. Typography is merely a man’s invention, hence imperfection and transience, albeit overlooked, are its key features. This typeface is based on worn-out letterings on tombstones in the St. Croce basilica in Florence. For hundreds of years, microscopic particles of marble are being taken away on the soles of visitors: the embossed figures become fossilised white clouds, fragments of inscriptions are nearing the limits of legibility. First missing are thin joins and serifs, then the main strokes finally slowly diminish into nothingness over time. Unlike an archaeologist, for whom even completely featureless stele is valuable, the typographer must capture the proper moment of wear, when the type is not too “new” but also not too much decimated. Such typeface is usable for catalogue jackets, invitations and posters. Calligraphy is a natural human trait. To write is to create characters of reasonable beauty and content, according to the nature of the writer. A natural characteristic of architecture is to create an aesthetic message very similar to the alphabet. A doric column, the gabled roof, the circle of the well plan: these are the basic shapes from which all text typeface is derived.

'Suddenly --' just isn't 'Soon...' enough for some people, and 'Later...' isn't quite 'The Next Day...' 'Meanwhile...' lies inbetween 'Seconds pass...' and 'That Night...' and was designed by Comicraft's John 'With Just a few minutes to Go...' Roshell in order to tell the tales of Marvel's AVENGERS and FANTASTIC FOUR. 'And now, back to the action...'

Avenida was created by architect and designer John Chippindale in 1994 and is a constructed typeface that leaves a cool, sophisticated impression. An Art Deco typeface inspired lettering found on buildings constructed in Spain's Andalucian region in the 1930's and 1940's. Avenida is best suited to headlines and short to middle length texts.

Say hello to Run Child font. Made with love and joy. Comic look, so it will make your design more beautiful, cute, fun and colorful. Features: Character Set Numerals and Punctuation (OpenType Standard) Accents (Multilingual characters) PUA Encode

Best Regardz is a casual, quirky handprinted font. A headline font that is kerned to be used at 24 pt or larger. This is the latest font in the Love Letters Series. Others in that series include Dearest John , Yourz Truly and Sincerely Yourz . Best Regardz was in the 2011 Typodarium Page-A-Day Calendar on 10-4-2011.

Turn base letters into gold, bring a norse flavor to your dialogue, and may you live happily ever after! Conjured up by John Roshell of Comicraft for Kurt Busiek and David Wenzel's 'Wizard's Tale', this font should be handled with great care, lest it turn you into a toad. Artwork from The Wizard's Tale by Busiek & Wenzel

Cogenta is a contemporary sans-serif typefaces. It offers excellent legibility with high contrast in the joint of lowercase letters. Its low cap height makes it an ideal choice for mobile and web applications. Its precise kerning enhances satisfaction. Cogenta seamlessly complements various design applications such as branding, posters, editorial design, websites, etc., consistently producing high-quality results.

Iowan Old Style was designed for Bitstream in 1990 by noted sign painter John Downer. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Iowan Old Style Titling was designed by John Downer and added to the Iowan Old Style family in 2002. The cap-only character set includes several ornaments and fleurons, broadening the appeal and functionality of the typeface family. Iowan Old Style was originally designed for Bitstream in 1990 by Downer, a noted sign painter. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Expert and old style figure font sets were added in 2000.

Game over. Insert coin to continue. 1 coin, 1 play. Credits 00. Screener is the latest child of arcade alphabets. Not too trendy, not too retro, not too stand-out, yet clear and fresh. Although it boasts plenty of the traits of its origins (early screen technologies), it manages to maintain a balance between the elements of its 1980s origins and the mechanical yet transparent late 20th century techno/pop design. Precise and geometric, solid and strong, Screener looks great on screen as well as in print, in tracked small sizes as well as in teaser headlines. Screener comes in two widths and weights, with italics, and extra sets of symbols and numerals (enclosed, fractions, superiors, inferiors, etc.), as well as two weights of small caps. Screener is available in separate packages, or in a value package that contains all twelve fonts.

John Seddon (1644-1700), was a famous English writing master, the leading calligrapher of his time, and master of Sir John Johnson’s Free Writing School in Priest’s Court, Foster Lane. His portrait was drawn by William Faithorne and was engraved by John Sturt as the frontispiece for his copy-books, such as ‘The Ingenious youth’s companion’ of c.1690 and 'The pen-man’s paradise' of c.1695. These were engraved after his work by others. Your extra-rare book - "The Pen-mans Paradise Both pleasent & Profitable OR Examples of all ye usuall hands of this Kingdome. Adorn'd with variety of ffigures an Flourishes done by Command of hand. Each ffigure being one continued & entire Track of the pen most where of may be struck as well Reverse (or to answer bothwayes) as Forward", London (1965). - (YES, that is the title of the book!) was the starting point to these new extra accurated works of Iza W, a series of revivals of the penmanship Seddon’s artworks, like this highly ornamented animal kingdom inspired capitals and alphabets: the Seddon Penmans Paradise Capitals typeface. And, on the other hand, you can get the animal and human kingdon inspired penmanship forms in the Bestiario font. The “SeddonsFleurons” will complete the collection. Fantastic choice to elaborated barocque/renaissance inspired and historical accurated layouts.

Jelly Billy is a fun handwritten font featuring a quirky, bold, and modern style! It will work perfectly with packaging products, merchandise or pretty much any design of spring or summer season that requires a touch of happiness and joy.

The "Galpon Next" typeface is a gestural and dynamic font specially designed for informal or children's texts. The idea behind this typeface is to capture the energy and spontaneity of handwriting, creating a sense of joy and fun in the designs.

Introducing Bluesy Rain –a cute and fun typeface suitable for creating eye-catching posters, logos, and crafting projects. From its bouncy letterforms to its playful style, hopefully, Bluesy Rain can bring a touch of joy to your design. Thank You

Sudtipos is proud to announce the release of Clockmaker, an 8-weight family that takes initial inspiration from typography around the turn of the twentieth century. Clockmaker takes aesthetic references from Victorian, Art Nouveau and Art Deco advertising and typography, taking special influence from John F. Cummings’ all-caps – and never digitized – type design Elandkay.  Clockmaker is a robust multi-weight family that includes an array of ligatures as well as alternate characters and support for all latin languages. The design process began with developing and modernizing the uppercase letterforms, followed by designing the lowercase and additional weights. Creating a diverse and playful set of uppercase ligatures was an almost endlessly enjoyable task; they are one of Clockmaker’s most charming features. Clockmaker is an impeccable choice for designs requiring a vintage flair such as a luxury liquor labels, restaurant identities, lavish hotels and many other applications where elegance and grace are needed.   In addition to its historical references, Clockmaker is an homage to my grandfather who was a master craftsman, repairing antique clocks and fine watches with great skill and mathematical precision. Watching him work was fascinating and it has been a joy to remember those quiet and curious moments from my childhood while designing this font.

Ellida is a very elaborate and elegant script in the tradition of the 18th-century English calligrapher George Bickham and the 19th-century American calligrapher Platt Rogers Spencer. I really enjoyed designing this script and maybe one day I will add starting and ending letters. Doing this script was extremely time- and brain-consuming, it is a huge challenge to make calligraphic letters work on computers so that they join perfectly. That's also the reason that this has become my most expensive font so far, but I think the price is fair for the incredible amount of work I put into the script. I really need a break from scripts now! Yours very exhausted Gert Wiescher.

Uninhibited by typographic demands, this artistic font freely expresses individual creativity. The use of line in conjunction with deceptively simple patterns of squares or dots and the occasional solid infilling gives the letters a lively vigor lacking in many modern designs. The joins between the letters' uprights and curves and the balance between thin and thick strokes are executed with impressive simplicity. The alphabet letters were inspired by Swiss art from 1939. The numbers were patterned after a design cut in stone dating back to the year 1692, while the punctuation and mathematical characters are a simple and modern typeface that is both pleasing to the eye and a whimsical contrast to the other characters.

Font designed from that used in France in 1492 to print the peace treaty between French and Enqlish Kings in Etaples, French town in Normandy. This font include "long s", naturally, as typically medieval, and only a few special characters as there were not very often used in the text, no more than abbreviations. Added, a lot of accented characters no longer existing on this time. A render sheet, joined with the font file, makes it easy to identify on a keyboard. This font is used as variously as web-site titles, posters and fliers design, editing ancient texts, greetings... This font supports as easily enlargement as small size, remaining a readable and beautiful regular gothic.

The slick and sexy letterforms of Ace ACTION COMICS artist, Pascual Ferry, are the latest to join our MASTERS OF COMIC BOOK ART font line. Pascual's work on the SUPERGIRLS storyline in ACTION made us want to lick each page -- but, y'know, not when anyone was looking... we know they're just comic book characters, they're not REAL and we don't fancy them or anything -- Uhhh... so we were delighted when Pascual invited us to create this stylin' sans souciant family of fonts for him. All we asked for in return was this smokin' alternate cover for the next issue of HIP FLASK... Hey, don't lick your monitor, you might get an electric shock...

Acies is a sharp sans with accented stroke width contrast and slightly condensed proportions. Its shapes are reduced to the bare minimum, conveying simplicity and sophistication. It has steep joins, aligning horizontal stroke endings and vertically ending ascenders and descenders, freely mixing typographic norms to create something refreshing and new. It is designed to function in a wide variety of environments, ranging from screen to print. Acies is available in 6 weights with matching obliques, that have the same pitch as their upright counterparts. With 690 Glyphs per font, it supports 100+ languages and offers a wide range of OpenType features like stylistic alternates, petite caps, old style figures, ligatures or case sensitive forms.

SPIDER-MAN! THE HULK! THE FANTASTIC FOUR! BATMAN! SUPERMAN! Superstar artist Mike Wieringo has worked with the most well-known characters in comic books, and just a few short years ago Comicraft teamed up with Mike and writer Todd DeZago in the pages of their creator-owned comic book fantasy adventure series, TELLOS! At Mike's request, we created a special Wieringo font which incorporated Mike's distinctive, slick-and-easy, backward-sloping letters, as well as a slightly heavier font -- carrying just a little more ink -- for the Shadow Jumper characters featured in the first TELLOS story arc. Now the Mike Wieringo font can be yours as it joins our ever growing library of Masters of Comic Book Art fonts.