Panama is a modern handwritten font. It will make your design project more powerful and beautiful. The font is suitable for any project such as logos, branding and quotes.. Enjoy the Font! Features: Accents (Multilingual characters) PUA encoded Numerals and Punctuation (OpenType Standard) Thanks for visiting and purchasing my font!

Say hello to Willson - Clean Serif Font, Willson designed with a modern and clean style. It's suitable for branding, logo, printing and many other designs. Included: Willson (otf) Features: Accents (Multilingual characters) 6 Alternates 11 Ligatures PUA encoded Numerals and Punctuation (OpenType Standard) Thanks for visiting and purchasing my font!

Please welcome, Moon Earth. A simple cozy handwritting and it's perfect for quotes. Moon Earth also fit for any range of your design projects. This font is naturally written by my self, so the flow of each characters became unique. Take your design project to the next level with Moon Earth.

Chumpsy is clumsy - I did my best to make an awkward and bouncy hand-written font that was funky, but still legible. I added 11 slightly different versions of each lowercase letter, which automatically cycle as you type, or you can manually choose the one that suits you the best.

Mister B is my go on a handmade organic font. The letters are clumsy, with the width and height somewhat off here and there. Nevertheless, the result is a naive and charming font, which is suitable for most things that has to do with kids toys, organic products or comics.

Biliner Meclan is a Minimalist Sans, use this font for any branding, product packaging, invitation, fashion, label, poster, logo etc. Feature Uppercase & Lowercase Number & Symbol International Glyphs Multilingual support Alternative Ligature Feel free to drop us a message any time and follow my shop for upcoming updates Hope you enjoy it.

A very glitzy Blitz! Blitz-Condensed is an addition to my normal Blitz family. Both are topheavy fonts and are meant to be used together. The font gets a special shine because of this effect. And it stays readable despite its special design. Your designer of surprising typefaces, Gert Wiescher

I am working on my Halloween font collection and realised I did not have a ‘blood drip font’. So, I bought a second hand typewriter and typed all the glyphs. Then I made the blood drips using syrup, paper and gravity! The result is a halloween font with a twist!

Our chef Martin Lorenz likes to mix cool and fresh cocktails - shaken, not stirred! You have to taste his awesome Martini or mix it yourself! To make matters more easy, cocktail master Martin reveals his special recipe: “The TpMartini refers esthetically to typefaces drawn with a pointed nib as the Bodoni or Didot, but with the clear distinction that it is obviously constructed by modules. The visual system for the TpMartin is based on a square 5x9-unit grid and three different basic forms with which the font and other elements are designed. The basic forms consist of a straight line and circles of two different sizes. The line can be extended, but the circles retain their related proportions.” One piece of advice: Don’t drink and type!

The Machines Typeface is a retro and classic typeface inspired by the 70s - 90s designs with more unique explored styles like swosh and alternate characters. This font is made from a manual sketch with many many scratches then finished with the font. there are 493 glyphs, so many options that you can use for your projects, Make your designs project with this font and extras illustration to give more superb. This font is also suitable to design like logos, stickers, tees design, banners, posters, sign, display design, packaging, and more superb designs! Enjoy our product and feel free to contact us for support! Features : Full set of Upper & Lowercase Character Number & Punctuation Swosh Alternate Extras Illustration Multilingual Language PUA encoded Opentype Features Thank You for your purchase!

Among the countless typefaces available today, the Modern Face style is relatively underrepresented. During the 19th century and then later with the competition from the mechanized hot metal types and film setting, a number of attractive headline types appeared in this style. For text, however, the available types were limited to those based on tried and true classics like Walbaum, Didot and Bodoni, which were created between 1780 and 1830, as well as a few variations from the end of the 19th and beginning of the 20th centuries. The demand for new Modern text types remained nonexistant until the 1960s. Such was the situation when the Haas'sche Schriftgiesserei (Haas Type Foundry) commissioned me to come up with a concept and sketches of a new hot metal type. I was able to convince the director of the foundry that there was a niche to be filled with contemporary Modern typography. Another reason for the production of a new type was of a technical nature: the introduction of a new setting technique should not be limited to existing typefaces, but instead should lead to innovative text types suited to the demands of the new applications. André Gürtler, Basilia's designer: I began to work on the concept and initial designs of the new text type in 1968. I wanted to give the type a classical look, expressed above all in the strong stroke contrast between the robust verticals and fine horizontal strokes and serifs. This is one of the main characteristics of Modern typography.""This new typeface, Basilia, is distinguished by its soft, open appearance as well as a number of details which together mark a departure from historical models. For example, it has nothing of Bodoni's round letters and their angular, narrow spacing, and displays instead round forms with a much softer stroke in the curves. It was very important to me to avoid the Modern characteristic of stiff, vertical, grid-like strokes and to create instead a lighter, more transparent type. I retained the Modern style by using straight horizontal serifs at right angles to the strokes to still give the type its sense of rigidity." Three sketches for Basilia (normal, italic, and bold) were finished in 1973. Only the 9-point size was produced at first. In the following years, basic weights were made and adapted to filmsetting."

Grand Slam is based on an old cardwriting style known as Poster Gothic. This dynamic letterstyle was used in the heyday of the Hollywood movie poster because of its powerful and snappy appeal. The face is of uniform thickness and made as wide as possible without interfering with legibility. Its vertical strokes seem to be thickened slightly where normal serifs would be. It is interesting to note that another group of tiny little serifs populate the entire design. Grand Slam comes with a complete set of alternates including small caps and small figures. A lowercase has been added for greater versatility. Grand Slam is now available in the OpenType format. In addition to small caps, lining figures, oldstyle figures, petite lining figures, and swashes, this expanded OpenType version contains some new stylistic alternates. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Beorcana can be classified as a serifless roman, a stressed sans, a glyphic sans, or calligraphic sans. However it is classified, Beorcana derives not only from other stressed sans designs like Lydian, Amerigo and Optima, but also utilizes classic Renaissance proportions in both Roman and Italic, which facilitate extended reading. Beorcana is available in Display, regular Text and Micro styles. Beorcana’s Text styles offer comfort and liveliness in books, dictionaries, magazines and other reading-intensive settings. Display styles offer a stately and organic flavor for any application. Micro styles perform in tight and dense settings like dictionaries, bibles, maps and fine print. The name Beorcana is a variant of the Icelandic word for the Birch tree, and the related words for the Icelandic rune. Many variant spellings are used for the tree and the rune: Beorc, Berkanan, Birkana, Bercano, Bjork, Bjarka. The Birch was revered as a symbol of renewal, due to its role as a pioneer species in burned, boggy or otherwise unforested areas.

Beorcana can be classified as a serifless roman, a stressed sans, a glyphic sans, or calligraphic sans. However it is classified, Beorcana derives not only from other stressed sans designs like Lydian, Amerigo and Optima, but also utilizes classic Renaissance proportions in both Roman and Italic, which facilitate extended reading. Beorcana is available in Display, regular Text and Micro styles. Beorcana’s Text styles offer comfort and liveliness in books, dictionaries, magazines and other reading-intensive settings. Display styles offer a stately and organic flavor for any application. Micro styles perform in tight and dense settings like dictionaries, bibles, maps and fine print. The name Beorcana is a variant of the Icelandic word for the Birch tree, and the related words for the Icelandic rune. Many variant spellings are used for the tree and the rune: Beorc, Berkanan, Birkana, Bercano, Bjork, Bjarka. The Birch was revered as a symbol of renewal, due to its role as a pioneer species in burned, boggy or otherwise unforested areas.

A former lettering artist at Hallmark Cards, Rob Leuschke now has his own thriving design businesses, Alphabytes and the new TypeSETit. Growing up in St Charles, Missouri, where he still lives, Rob showed great artistic promise at an early age. He earned a BFA in graphic design at the University of Missouri at Columbia. After graduation, his stint at Hallmark Cards gave him the opportunity to learn from and work with some of the best lettering artists in the industry. Rob struck out on his own in 1987 and now boasts a long list of clients from all over the world. Rob has created over 250 custom typefaces, and his work has been exhibited in New York. Ambiance BT is Rob’s first typeface published by Bitstream, with more to follow.

Some say The Silver Age Will End in Fire; others say The Silver Age Will End in Ice! Know, O Prince, that In Your Darkest Hour, the Masters of Evil Will Live Again! But from The Ashes of the Bitter Taste of Defeat, A New Power will be Unleashed! Lo, There Shall be A Frenzy in a Far Off Land, There Will be a Great Price AND a Great Prize! There Will Be a Bitter Victory in a World Gone Mad -- a World You Never Made... Face it, Tigers, You are Captives of The Coming of The Return of The Mad Mysterious Menace of He Who Would Destroy You...This Man, This Monster... This Final Font in our collection of Silver Age Display Lettering -- BATTLE DAMAGED! See the families related to Battle Damaged: Battle Cry & Battle Scarred .

German type designer Erik Spiekermann and American type designers Christian Schwartz and Josh Darden created this display and sans FontFont in 2005. The family has 12 weights, ranging from Light to Black in Compressed, Condensed, and Normal and is ideally suited for book text, editorial and publishing as well as poster and billboards. FF Meta Headline provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with tabular lining and proportional lining figures. This FontFont is a member of the FF Meta super family, which also includes FF Meta, FF Meta Correspondence, and FF Meta Serif.

Linotype Sinah is part of the Take Type Library, selected from the contestants of Linotype’s International Type Design Contests of 1994 and 1997. Designed by the German artist Peter Huschka, Linotype Sinah is a rounded, ornamental font with many strokes ending in teardrop forms. The letters of this wide-running font do not share a common base line. The capital S and the lower case l both drop under it although neither have descenders. Overall, Linotype Sinah has an almost Asian or Indian feel. The font must be used with generous line spacing and is intended exclusively for headlines or shorter texts in point sizes of 12 or larger.

It’s time for Primal. It’s time to Rock! Primal is a polygonal typeface created with primeval times in mind. All forms have been created using few lines, angles and points. This typeface will enable you to create type that will almost scream off the page. Raaawwhrrr! Very useful for concert posters, techno parties or caveman signs. Whichever you prefer! Primal contains uppercase, smallcaps and underscored lowercase letters. By turning on standard ligatures the underscored letters will automatically connect, resulting in one single underscored line. Primal also contains a number of opentype ordinals and catchwords. The latter can be unlocked by using discretionary ligatures. This typeface is created by illustrative designer Zeptonn.

Inspired by an old Russian book about Moscow’s plan to take over the world, this font was designed to give digital prints the taste of hand lettering. It’s vivid outlines and slight differences in boldness between characters give it an accurate and realistic imperfect letterpress look. It works amazingly well as a text font in small sizes and shows it’s crippled outlines only at larger sizes. »CA Moskow has a plan« has got an extensive character-set including Russian Cyrillic, the Russian Rubel and the Turkish Lira sign. Although it includes kerning, for a full simulation of letterpress print and cold-war feeling we recommend to turn it off.

Machismo is a seductively suave display font with a plump and plush persona. Bubbling with personality, this friendly font has a weighted look that gives a bold and striking feel to it. Ideal for various uses from small bursts of copy in children's books to poster work, logos, and titling. The "titling" variation swaps shortcaps into the lowercase positions, giving the font even more of a macho persona. It's smooth, it's bold, it's friendly, it's the ultimate pickup artist font, luring in onlookers to get a closer look at what you have to say. Say what you've been wanting to say with Machismo Titling.

Stylefinder is a new elegant signature style font which gives any design project that authentic handwritten feel. It’s perfect for logos, branding, headlines, sub-headers and taglines. This type of font is currently extremely popular in the logo design community - Over the years I’ve created many unique logos for new businesses using different styles of hand lettering and calligraphy, so I thought it was time to make something available for you all to use in your own designs. Stylefinder comes with some alternate lowercase glyphs, ligatures and six additional swashes to give that finishing touch. There is also a large amount of multi-lingual support.

Linotype Sinah is part of the Take Type Library, selected from the contestants of Linotype’s International Type Design Contests of 1994 and 1997. Designed by the German artist Peter Huschka, Linotype Sinah is a rounded, ornamental font with many strokes ending in teardrop forms. The letters of this wide-running font do not share a common base line. The capital S and the lower case l both drop under it although neither have descenders. Overall, Linotype Sinah has an almost Asian or Indian feel. The font must be used with generous line spacing and is intended exclusively for headlines or shorter texts in point sizes of 12 or larger.

Released in 1993, Ocean Sans is a sans serif design created for Monotype by the talented Malaysian designer, Ong Chong Wah. The Ocean Sans font family has a distinct contrast between thick and thin strokes which sets it apart from the rather austere Grotesques with their more monotone appearance. Ocean Sans italic is an unusual design for a sans face, a strong cursive influence gives it a flowing rhythm not generally associated with sans serif italics. Ideal for text and display setting, the freshness of the Ocean Sans font family will give the user further scope in the design of catalogues, brochures, advertisements and flyers.

German type designers Erik Spiekermann and Ole Schäfer created this sans FontFont in 1998. The family has 6 weights, ranging from Regular to Bold (including italics) and is ideally suited for advertising and packaging and logo, branding and creative industries. FF Info Correspondence provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with proportional lining and tabular lining figures. In 1998, FF Info Correspondence received the The Big Crit award. This FontFont is a member of the FF Info super family, which also includes FF Info Display and FF Info Text.

Quentin Schmerber’s Temeraire serif font family was not designed to be invisible. It is a typographic exploration meant to be seen — with its beauty, one could even say beheld. While some fonts aim to be as easily ignored as possible, Temeraire is offered as a gift to wide-eyed readers with its anything-but-boring character and its conspicuous inconsistency in styles. Most type families increase the weight of each character to expand the family. Instead, research into 17th century sources produced Temeraire’s wide range of letterforms, from the predictable to the odd and loosely related through time. Each style is designed to work alongside the others but are also standalone homages to specific parts of English lettering tradition: gravestone cutting, writing masters’ copperplates, Italiennes, and others. Temeraire’s Regular style is a contrast-loving Transitional Serif with vertical stress, making it great for period and classic works, ironic pieces, and modern throwbacks. The weight of the Bold squares off the ends of each glyph to give it stability, and the italic style rings true: flowing, contrasting, and purposefully inconsistent. Temeraire’s Display Black style is one salvaged from expressive gravestone artistry. The details most easily noticed are the ‘g’ with its descending bowl that has been pressed back up in the centre, and the additional serif on the ‘t’ crossbar that holds its neighbouring character at bay. (The ‘g’ and ‘Q’ have loopless alternates.) The final style is the Italienne, the horizontally stressed counterpoint to the family. By design its characters flow and bend in ways not in step with the rest of the family. All the weight has been pushed to either hemisphere within each glyph, resulting in a display style that demands space and peacefulness around it so its presence can impress. As with all TypeTogether families, Temeraire meets the current designer’s needs. Not only does its five styles shine in print work, it includes alternates for when the defaults are too boisterous and has been expertly crafted for screens. The Temeraire serif font family is resurrected from echoes in time and finds its family relation through impeccable taste.

Shandon Slab adds a new colour to the prominent family of serif-dominant typefaces. A distinctive look with its slightly flowing characteristics sets it apart from most members of the category. The contrasting italic styles add a vivid accent. Shandon Slab is predestined for editorials, headlines, and eye-catching text applications. The Shandon Slab family consists of 18 styles. It comes in OpenType format with extended language support for more than 40 languages. All weights contain standard and discretionary ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternative characters.

MGN Albiston is a condensed display typeface that we designed with a strong and sporty look. It is perfect for headlines, posters, and logos. The condensed form gives it a compact and powerful appearance, making it stand out in any design. The serif touches on certain parts of the letters give it a classic touch, adding complexity to its overall impression. This typeface is suitable for various design projects, such as sports branding, fashion, and entertainment. It has a versatile and dynamic look that can add a bold touch to any project. Give it a try and see how it can enhance your designs.

The other day, I was cooking a curry and I suddenly realised that we, as a family, eat a lot of meat. At home we do like meat, but given the state our world is in right now, we cannot continue eating meat like there is no tomorrow. As a result, I am hunting the internet right now for good vegetarian recipes (if you have one you’d like to share, then please contact me!). Tournedos is a beefy font family: a chunky all caps set of fonts - and a leaner set to counter and complement this rather heavy dish. And do eat your greens!