Now showing at your local picture house is the latest romantic comedy coupling featuring Matinee Idol and Matinee Idol Bold; famous faces you've come to know and love in features like Warners' "Hush" and Columbia's "The Evil That Men Do." Stop by our lobby and check these fonts out. Oh, and please remember to refrain from smoking and talking during the show!

Alipe Script is a new script typefaces family. Alipe Script family has light, medium and bold fonts, all with ligatures, alternates and a set of ornaments. It can be used for text as well as for titling applications.

Handcrafted signs line the stoned walkways of old Italy. Some a century old, these often forgotten works of unknown artists remain etched across cities and villages. But now, they make their inviting impressions once again as the inspiration for insigne design’s Gineso Soft typeface. Gineso Soft absorbs the personality of northern Italian posters, headlines and logotypes, providing a type especially nice for signs and titling with its condensed qualities. The font contains matching italics for the the eight weights and three widths. We’ve also included small features along with fractions and superior / inferior characters to broaden your options. Even more, Gineso Soft is ready for all applications and features a large character set for the languages ​​and literature of Europe. So add a soft touch the next time you’re in a tight spot. Add Gineso Soft and make your project a work to be remembered.

BILLIARD was born from the numerous sketches André Toet did for the design of a series of postage stamps in 2011. It’s a capital monospaced and ‘fun’ alphabet, based on the classic billiard play with two white and one red ball. Actually snooker and pool were derived from this rather old sport! In Europe it used to be a sport played by elderly people, practiced in traditional bars, including the smell of beer and the at that time prevalent smell of cigarettes and cigars. These days billiard, snooker and pool are quite popular once again with young people. Hopefully our new font will get the same attention the ‘old sport’ deserves and who knows it might even be used in a sportive way. Concept/Art Direction/Design: André Toet © 2017

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

Introducing - Roxale Story. a new fresh & modern serif with smooth curves. It comes with elegant style, classy, and contrasts, with features and consist of regular, italic and calligraphy italic. Roxale Story is perfect for luxury logo and branding, classy editorial design, woman magazine, cosmetic brand, fashion promotional, art gallery branding, museum, historical of architectural, boutique branding, stationery design, blog design, modern advertising design, card invitation, art quote, home decor, book/cover title, special events and any more. Features : · All Uppercase and Lowercase · Number & Symbol · Supported Languages · Alternates and Ligatures · PUA Encoded

Hello Sunshine - elegant Calligraphy font is a romantic and sweet calligraphy typeface with characters that dance along the baseline. It has a casual and yet elegant touch. It can be used for various purposes such as logos, wedding invitations, headings, t-shirts, letterhead, signage, lables, news, posters, badges etc. The fonts include OpenType features with stylistic alternates, ligatures and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions

A WPA (Works Progress Administration) sponsored Water Carnival taking place in Central Park in the 1930s had "Department of Parks, City of New York" in the thin Art Deco hand lettering which is now available as Parks Department JNL.

Since its initial release in 1989, Trajan has risen to international popularity as a distinctive and versatile display typeface. First released as a Roman, and later a contemporary and stylish sans.

Solid Serif JNL adds tiny serifs to the letter forms of Parkitecture JNL and changes the look and feel into an Art Deco Roman face for display, titling and period pieces.

Since its initial release in 1989, Trajan has risen to international popularity as a distinctive and versatile display typeface. First released as a Roman, and later a contemporary and stylish sans.

Arsis Regular Font was designed by Gerry Powell in 1937. It is a Serif (Antiqua) Modern Style font. Arsis Regular font attributes include roman serif, Didone, elegant, formal, modern style, feminine.

This display stencil typeface is extension from Gazeta font family, where the letterform cuts are more mechanical without loosing their own natural structure. Italic versions are not available, only roman characters.

Moving Van JNL is a classic sign painter's block Roman with angled [instead of rounded] corners and slab serifs. This style of lettering was most popular in the 1920s and 1930s.

Duesenberg was designed to be similar to turn of the century fonts used primarily in newspapers. It has roman characteristics, yet is clearly not, and really doesn't fall under any category.

Braggadocio is a very black typeface. Braggadocio is a strange hybrid with characteristics of both sans serif and modern faces; and it belongs very much to its time. Like high society in the 1920's, it should not be taken too seriously. Use the Braggadocio font for display lines in advertising, magazines and light hearted communications.

Fairground was created by calligrapher Rachel Yallop using a vintage nib and ink. This gives it a light flourishing feel, combining the formal penmanship of calligraphy with something a little more informal at the same time. It’s a delicate font with a full range of upper and lowercase alternate characters. Oh, and it has ligatures too!

One of the odder things I remember from high school (50+ years ago) is the tile floor of hexagons in the bathroom. There is something fascinating with the way hexagons fill the plane. BakerHalfDozen is made of white letters that fit on black, hexagonal tiles. BakerHalfWhite switches the letters to black on white tiles, and BakerHalfBare eliminates the tiles. There are no true lower-case letters, but some letters have alternate shapes. To make the tiles line up right, alternate lines must be indented half a space. Use the {} characters (brackets) to do this.

Hamerslag is an ultra-condensed serif type family with uncomplicated, regular appearance, large x-height, relatively high contrast and modern glyphs shapes. Available in four styles, contain fraction- and scientific numerals, standard ligatures, currency symbols, proportional and tabular lining figures. Its wide character set support 200 Latin-script languages, 50 Cyrillic-script languages and 190+ romanizations/transliterations, e.g. The United Nations romanizations, Chinese official romanization (Hanyu Pinyin), BGN/PCGN (United States Board on Geographic Names and the Permanent Committee on Geographical Names for British Official Use), American Library Association / Library of Congress romanizations and others. The OpenType PostScript CFF (.otf) and OpenType TrueType TTF (.ttf) support encodings: Windows 1250 Latin 2 (Eastern European), Windows 1251 Cyrillic, Windows 1252 Latin 1 (ANSI), Windows 1254 Turkish, Windows 1257 Baltic, ISO 8859-1 Latin 1 (Western), ISO 8859-2 Latin 2 (Central Europe), ISO 8859-3 Latin 3 (Turkish, Maltese, Esperanto), ISO 8859-4 Latin 4 (Baltic), ISO 8859-5 Cyrillic, ISO 8859-9 Latin 5 (Turkish), ISO 8859-10 Latin 6 (Scandinavian), ISO 8859-13 Latin 7 (Baltic 2), ISO 8859-14 Latin 8 (Celtic), ISO 8859-15 Latin 9, ISO 8859-16 Latin 10, Macintosh Character Set (US Roman). Supported OpenType features: Acces All Alternates, Capital Spacing, Case-Sensitive Forms, Denominators, Fractions, Glyph Composition/Decomposition, Historical Forms, Kerning, Localized Forms, Numerators, Ordinals, Proportional Figures, Scientific Inferiors, Slashed Zero, Standard Ligatures, Stylistic Alternates, Subscript, Superscript, Tabular Figures. Kerning is prepared as single ('flat') table for maximum possible compatibility with older software.

Cocomat has been designed by Francesco Canovaro and Debora Manetti as a development of the Coco Gothic typeface system created by Cosimo Lorenzo Pancini. It shares with all the other subfamilies in the Coco Gothic system a geometric skeleton with open, more humanistic proportions, a sans serif design with slightly rounded corners and low contrast proportions, without optical compensation on the horizontal lines, resulting in a quasi-inverted contrast look in the boldest weights. What differentiates Cocomat from the other subfamilies in Coco Gothic are some slight design touches in the uppercase letters, with a vertical unbalancing reminiscent of art deco design, notably evident in uppercase "E", "A","F","P" and "R" - while lowercase letters have been given some optical compensation on the stems, like in "n","m", "p" and "q". These design choices, evoking the second and third decade of the last century (Cocomat is also referred as Coco 1920 in the Coco Gothic Family) all give Cocomat a slight vintage feeling, making it a perfect choice every time you need to add a period vibe or an historical flair to your design, like in food or luxury branding. The typeface, first published in 2014, has been completely redesigned by the original authors in 2019 as Cocomat PRO to include eight extra weights (thin, medium, black and heavy in both roman and italic form), extra open type features (including alternate forms, positional numerals), and extra glyphs making Cocomat cover over two hundred languages using latin, cyrillic and greek alphabets.

Please note: Sindelar webfonts are exclusively available at willerstorfer.com Sindelar is a capable, contemporary text face addressing today’s news design requirements. Its large x-height, low contrast and robust serifs grant a high legibility in small sizes. The balanced, well chosen proportions make the typeface economic (i.e. space saving) without giving it a too narrow appearance. These characteristics make it the ideal choice for extensive text setting in newspapers and magazines – on paper and on screen. Named after famous Austrian football (soccer) player Matthias Sindelar (1903–1939), one of the best players of his time, the typeface shares two major qualities with its namesake: their technical brilliance and their way of performing aesthetically to the last detail. The football player’s nickname »Der Papierene« (the Paper-man) elegantly refers to the media too. Although optimised for small sizes, Sindelar’s low contrast and robust serifs give the typeface a strong impact and an unmistakable personality in larger sizes. Sindelar’s calligraphic influences can be noticed in the Italics best. The italic letters are inclined by slightly different angles, respecting the letters’ shapes and proportions and resulting in a balanced, yet vivid appearance. Sindelar comes in 18 styles – nine weights in Roman and Italic each. Each font is equipped with a huge character set of about 980 glyphs and various OpenType features.

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

Part pirate, part BBQ, all fun. Our new adventure inspired retro showcard font. Outpost was inspired by retro hand-lettered type used on vintage movie tiles, midnight movie posters, and pulp adventure magazines. But don't let that limit your creativity. Part pirate, part BBQ, all fun. Outpost is perfect for gaming titles, casual food packaging, and of course, Halloween projects.

Hand lettered titling on the 1945 sheet music for “Don’t Forget To-Night, To-Morrow” is in a simple, condensed sans serif style with a slight hint of Art Deco influence. This is now available as Handmade Headline JNL, in both regular and oblique versions.

Between twilight and daybreak it is said that the dark side of the human psyche eclipses the sun that shines from the depths of our souls. Certainty turns to doubt, clarity becomes confusion, man turns into wolf, the dead wake, vampires seduce the young are restless and milk boils over on the stove. Those that seek only to bathe in the light of a romantic new moon often end their tragic lives soaked in nothing other than their own blood, and the milk spilt on the stovetop has no one left to cry over it. There are fifty shades of grey during those hours after sunset and I think just as many in my porridge this morning. Yes, okay, I admit it, I spoiled the milk! This porridge tastes like it was left in a graveyard overnight. Death warmed over. Gothic and lumpy. Just like the Buried weights of this font.

"Heart on a string" is from a song by Paul McCartney, and is one of his romantic ones. I tried to do the same by creating a font that has the same romantic feeling.

When you look at it for the first time, it seems to you that letters are inclined to the right. But it is only an illusion. Why Galleon you ask? I do not know. There is in it something both from the sea and from a wind.

LHF Retro Ricky transports you right into the groovy retro past. These 60’s-era Doohickies set includes over 85 panels and dingbats to enhance your designs. Save time recreating vintage logos and designs. Goes perfect with the LHF Retro Ricky Fonts, only available at Letterhead Fonts.

Balogent is a elegant script with a new lovely stylish, a perfection style of the letters you want to use, modern handwriting with many alternatives. Now this is an opentype! It's smart and in line with your wishes! You are welcome to use it, suitable for various purposes: logo, signatures, corporate symbol, wedding invitation, title, creative, t-shirt, business card, letterhead, nameplate, headings, label, poster, news, badge, letterhead, cutting, hot stamping, quotation, etc. Thanks !

England's own Sean Phillips wanted a lettering font to suit his distinctive work with Joe Casey on WILDCATS -- and we gave it to him! Of course, the tricky bit was working on Sean's Northern accent, and making sure that every time words like color, favorite and neighborhood popped up, the letter "u" was correctly inserted. Sean's font has now undergone months of Beta testing and is now ready for release to the public. Yes, Sean Phillips, your favourite British Master of Comic Book Art is coming to a neighbourhood near you soon -- now in Full Colour!

The new distressed typewriter font Ollivette is inspired by a beatnik poet sitting on a beach in Mexico pecking away at his brand new, imported, Italian portable typewriter in 1954. That's where the basic letterforms for this font hearken from. The grungey patina has been added over the years and is now available for you to download in font format. If you prefer the basic TrueType or PostScript versions, you'll enjoy a new standard retro typewriter style. Users of the advanced OpenType features will appreciate stylistic alternates for almost every letter, and contextual alternates for a randomizing organic effect. Support for Western & Central Europe? Yeah! We put that in there, too. So go global, and go vintage, here's a classic new type for you.

We have been in lockdown for a long time now. The schools were also closed, meaning my kids had to stay at home. This week the schools reopened (not a day too soon!), which means my kids can play with their friends again and learn something too! My wife and I pack their lunchboxes every day and always add some fruit for snack time. That fruity snack inspired me to create this rather messy font! Fruity Snack is a handmade display font. It looks wobbly, comes with awkward angles and rough bits. It also comes with extensive language support (including Vietnamese) and 2 sets of alternates for the lower case letters.

Get ready to be bold and elegant at the same time. It’s time to see Wildrace, a display font created in capital letters with the racing theme. The font’s character is the thick letters formed similar to rectangles to give strong impressions. Therefore, it will be more noticeable and match the large-sized texts. Wildrace also provides interesting features to enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Use Wildrace for any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Purchase now. Happy designing.

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: the sturdy, legible forms of FF Good have been put to good use in the Polish-language magazine ‘Komputer Swiat,’ the German and Russian edition of the celebrity tabloid OK!, and the new corporate design for the Associated Press. Although initially released as a family of modest size, the typeface was fully overhauled in 2010, increasing it from nine styles to 30 styles, with an additional 30-style sibling for larger sizes, FF Good Headline. In 2014, the type system underwent additional expansion to become FontFont’s largest family ever with an incredible 196 total styles. This includes seven weights ranging from Light to Ultra, and an astonishing seven widths from Compressed to Extended for both FF Good and FF Good Headline, all with companion italics and small caps in both roman and italic. With its subtle weight and width graduation, it is the perfect companion for interface, editorial, and web designers. This allows the typographer to pick the style best suited to their layout. As a contemporary competitor to classic American Gothic style typefaces—like Franklin Gothic, News Gothic, or Trade Gothic—it was necessary that an expanded FF Good also offers customers both Text and Display versions. The base FF Good fonts are mastered for text use, while FF Good Headline aims for maximum compactness. Its low cap height together with trimmed ascenders and descenders give punch to headlines and larger-sized copy in publications such as newspapers, magazines, and blogs.

Arepo is a display typeface inspired both by the Imperial Roman letter and the forms of Giambattista Bodoni. Together with Stone Print, SFPL, and Cycles it makes up a superfamily of typefaces.