Slinces Heart is a captivating script font that captures the essence of handwriting with a touch of romance. Each letter in this font is meticulously crafted with fairly high line contrast, adding a dynamic and eye-catching quality to the font. The swinging endings in Slinces Heart add a flourish of creativity and uniqueness. With its smooth and flowing letterforms, this font offers a natural and seamless writing style. For the best legibility you can use this font in the bigger text sizes.

Film Noir JNL is a classic Art Deco Alphabet from the brush of the late master sign painter Alf R. Becker, and appeared in Signs of the Times Magazine. Thanks to Tod Swormstedt of ST Media and the American Sign Museum for providing the reference material to make this font.

The cover of vintage sheet music for "With Plenty of Money and You (The Gold Diggers' Lullaby)" from the Warner Brothers musical "Gold Diggers of 1937" had the movie title hand-lettered in a classic Art Deco style. Bold, brash and totally fun, this became the model for Golden Opportunity JNL.

The inspiration behind the design of the Verger typeface family comes from the classic Golden Type, which was originally crafted by William Morris. Although Verger is inspired by this classic typeface, it has several modern, expressive and distinctive styles of its own, especially in the design of its italic versions.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina’s story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn’t even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born. Photo (Fragilité): Karin Topolanski / Post: Raw (www.raw.com.uy) - María Pérez Gutiérrez

Inkster breaks all the rules. The serifs vary from letter to letter, if they have any serifs at all. The upper and lower case letters intermingle and the contrasting characters bounce all over the baseline. Loosely based on the character shapes of Frisco, I developed a tightly spaced calligraphic version and called it Inkster. Use this artistic font when youre looking for a distinctive style!

The Heinemann fonts were initially developed by the in-house design team at Heinemann educational publishing out of the necessity to find the perfect font for use in early primary reading books and literacy products. Basic Heinemann is defined by longer ascenders and descenders, which help children to distinguish between letters; rounded edges on all letterforms, which help the reader focus on the individual letter shape; and modified characters (eg., a and g), which ensure instant recognition of letterforms. Heinemann Special offers further modified characters and kerning pairs ideal for dyslexic or special-needs use (eg., a, d, and b). The Heinemann fonts were developed in partnership with children, literacy advisors, teachers of special needs/dyslexia, and primary-school teachers and are now available in response to hundreds of requests from publishers, designers, and teachers to purchase them. They have been tested in schools and learning institutions over an 8-year period, and they are a favorite for use in both print and electronic products. The modern, clean aesthetic of the fonts ensures that their use can spread beyond educational applications.

The thin, stylish Art Deco slab serif lettering featured on the cover of the 1934 sheet music for “Then I’ll be Tired of You” inspired the digital type face Park West JNL, which is available in both regular and oblique versions. Central Park West has always been the upscale area for affluent New Yorkers, but in the Great Depression years of the 1930s the mystique of the well-to-do held an even stronger significance.

Haarlemmer is a recreation of a never-produced Jan Van Krimpen typeface that goes one step beyond authentic: it shows how he wanted it to be designed in the first place. The original, drawn in the late 1930s, was created for the Dutch Society for the Art of Printing and Books and was to be used to set a new edition of the Bible, using Monotype typesetting. Hence the problem: fonts for metal typesetting machines like the Linotype and Monotype had to be created within a crude system of predetermined character width values. Every letter had to fit within and have its spacing determined by a grid of only 18 units. Often, the italic characters had to share the same widths as those in the roman design. Van Krimpen believed this severely impaired the design process. The invasion of Holland in World War II halted all work on the Bible project, and the original Haarlemmer never went into production. Flash forward about sixty years. Frank E. Blokland, of The Dutch Type Library, wanted to revive the original Haarlemmer, but this time as Van Krimpen would have intended. Blokland reinterpreted the original drawings and created a typeface that matched, as much as possible, Van Krimpen's initial concept. While Van Krimpen's hand could no longer be on the tiller, a thorough study of his work made up for his absence. The result is an exceptional text family of three weights, with complementary italic designs and a full suite of small caps and old style figures. Van Krimpen would be proud.

Konrad Kachelofen was a printer in the city of Leipzig beginning around 1483. He printed many works by contemporary authors and also many of the classics. He acquired an unusually large amount of typefaces for his shop, a place that included a wine bar and book store. This type face is based on Typ.11:340G GfT510 Gesamtkatalog der Wiegendrucke and is similar to Proportional Lime’s “Kachelofen'' font. The major differences are that the whole miniscule set is slimmer and the majuscule set has different style glyphs and this face was used solely for titles and section headings because of its sharper and clearer appearance at large point values. Konrad probably died in 1529 after passing his business on to his son-in-law Melchior Lotter, who also went on to fame as an industrious and illustrious printer.

Hustine Font is a stylish and elegant handwritten signature script font that comes in two variants: light and regular. This font features a flowing and graceful handwritten style, capturing the essence of a personal signature. Both variants maintain the authenticity and natural beauty of handwritten script, making them suitable for various design projects such as logos, branding, invitations, and more.

NeuAltisch is a calligraphic version of a modernized, more rounded Fraktur. Blackletter fonts of this sort are useful for decorative purposes in certificates, invitations, labeling, and advertising. The family has two weights, plus three versions that are shadowed or striped. The shadowed versions have been deconstructed so that they and their derived font can be used in layers to add color.

Kanona JNL is modeled from one of the numerous alphabets created by the late Alf R. Becker for Signs of the Times magazine from the 1930s through the 1950s. Thanks to a wealth of source material provided by Tod Swormstedt of ST Media (and who is also the curator of the American Sign Museum in Cincinnati, Ohio), Jeff Levine has been redrawing many of these alphabets and presenting them in digital form. The original variations in letter widths from Becker’s hand-painted alphabet have been left intact.

Compacta is the work of Fred Lambert and is reminiscent of the extremely narrow, sans serif stencilled fonts of the 1920s, then intended as titles or headlines for magazines and posters. The characters of all cuts are narrow and the space between letters is very small. The white spaces between strokes are perceived almost as only small white stripes and dots which stand out from the black bands of the lines of text. Compacta is not meant for longer texts but is impressive in titles and headlines.

Compacta is the work of Fred Lambert and is reminiscent of the extremely narrow, sans serif stencilled fonts of the 1920s, then intended as titles or headlines for magazines and posters. The characters of all cuts are narrow and the space between letters is very small. The white spaces between strokes are perceived almost as only small white stripes and dots which stand out from the black bands of the lines of text. Compacta is not meant for longer texts but is impressive in titles and headlines.

A rubber stamp printing set from the 1930s (or possibly earlier) was the model for Winery JNL. Containing a pleasant serif font, it also provided a few little touches unusual for such toy sets of the time. The horizontal crossbar of the H has a diamond embellishment, as does the horizontal stroke of the number 3. Additionally, the lower right tail of the G curves away from the letter and the Q has a spiral tail. Re-drawn from scans of the original stamp impressions, this typeface is available in both regular and oblique versions.

Saracen is the Latin (wedge serif) member of The Proteus Project, a collection of four interchangeable type families designed in different nineteenth century styles. The Saracen typeface was designed by Jonathan Hoefler in 1992. Saracen is a design in the ‘latin’ style, characterized by wedge-shaped serifs, a genus of type that emerged in the mid-nineteenth century. A part of The Proteus Project, the typographic theme-and-variations based on related Regency styles, Saracen was created for Rolling Stone, in whose pages the typeface first appeared in 1993 . From the desk of the designer: Though the wedge serif printing type is a nineteenth century innovation, Saracen does not resemble any font from this era. It’s mysterious that typefounders of the Victorian age who sought the extreme and fanciful in their work — exploring all manner of serif treatments, and creating extra-condensed and super-expanded designs — never made a latin font of this straightforward proportion. <

The pattern for this face was designed by Will Bradley in 1894 for the cover of Inland Printer magazine, and was licensed the following year to American Type Founders. Its classic lines and condensed footprint make this typeface a natural for elegant and inviting headlines. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Manhattan was designed in 1970 for ITC by Tom Carnase, who also created Avant Garde Gothic. The distinguishing characteristic of this designer's work is found in the emphasis on the thick-thin constrast. In this case, Carnase approached the border of the impossible. The heavy vertical strokes stand opposite the finest of lines and the thick columns dominate the overall look. The basic forms are strictly constructed, as are those of Morris F. Benton's Broadway of 1925, to which many parallels can be found. Manhattan is best used for applications which will not be placed too far from the viewer, as at too great a distance the fine lines can no longer be seen. It should be used exclusively for headlines in medium point sizes.

This old classic font has an interesting history, it was originally cut with lowercase by the Bruce Type Foundry in 1865 and listed as Ornamented No. 1514. Around 1903 the Bruce foundry was bought by ATF, in 1933 this font was revived by ATF as Caps only and was given the Gold Rush name but was sometimes called Klondike. A similar version of this font with lowercase and radiused serifs was produced by the James Conner's Sons Type Foundry around 1888. In the past other foundries such as the Carroll foundry, Type Founders of Phoenix and the Los Angeles Type Foundry have produced an all caps version of this font. After examining several printed sources of this font from more recent books I found that the original from Bruce's 1882 book was by far the best in design quality, it was also the only printed source that included the lowercase. New open faced, ornamented and distressed versions have been added to this old classic font, there are also many extended characters for Western, Central and Eastern European countries. The Gold Rush Trail OpenType version has alternate double letter pairs included in the font and will automatically be substituted when used in Adobe CS products or other software that takes advantage of OpenType features. Also available is a spurred version of this font listed under the name Gold Spur.

Fantini is the revival and elaborate update of a typeface called Fantan, made in-house and released in 1970 by a minor Chicago film type supplier called Custom Headings International. In the most excellent tradition of seriously-planned American film faces back then, CHI released a full complement of swashes and alternates to the curly art nouveau letters. Fantan didn't fare much among the type scene's big players back then, but it did spread like electricity among the smaller ones, the mom-and-pop type shops. But by the late 1980s, when film type was giving up the ghost, most smaller players in the industry were gone, in some cases along with little original libraries that existed nowhere else and became instant rarities on their way to be forgotten and almost impossible to resurrect for future technologies. Fantini is the fun and curly art nouveau font bridging the softness and psychedelia of the 1960s with the flirtatious flare of the 1970s like no other face does. Elements of psychedelia and funk flare out and intermix crazily to create cool, swirly letters packed with a lot of joy and energy. This is the kind of American art nouveau font that made its comeback in the late 20th century and is now a standard visual in the branding drive of almost every consumer product, from coffee labels to book and music covers to your favorite sugar or thirst-crunching fix. Alongside Fantini's enormous main font come small caps and three extra fonts loaded with swashy alternates and variations on plenty of letters. All available in all popular font formats. Fantini Pro, the OpenType version, packs the whole she-bang in a single font of high versatility for those who have applications that support advanced type technologies. In order to make Fantini a reality, Canada Type received original 2" film specimen from Robert Donona, a Clevelander whose enthusiasm about American film type has never faltered, even decades after the technology itself became obsolete. Keep an eye out for that name. Robert, who was computer-reluctant for the longest time, has now come a long way toward mastering digital type design.

Because ebooks will not normally accept .otf fonts, and they don't support Opentype features, this font family was designed to be used for the ebook conversions of print books. It uses old style figures. The italics are slanted a bit more. And Heavy is a little bolder than the bold in Contenu Book.

The letters of ShirlyUJest have serifs that have gone wild, crossing over themselves, giving them the look of overgrown vegetation. It is weird and bizarre and out of control; the name says it all. It is caps-only with the lower-case keys containing the glyphs identical to those on the upper-case keys.

Hoy is a decorative font whose name derives from one of the Orkney Islands. Inspired by the wonderful encounter between the Celtic and Norse cultures in this specific geographic location, the font has adapted some of the features of the Insular half-uncial. It is playful and relaxed, and easily recognizable by its roundness.

Two offerings from the Page specimen book, Aldine and Aldine Extended, provided the patterns for this family of Western-style standards, named for the smallest county in Texas, at least area-wise. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Inspired by the signwriting on traditional old canal boats in the UK, this bold, block serif design has many potential uses. Due to the modular nature of this design there may be a slight lack of smoothness to the curves at very large point sizes (around 100 pt and above).

This charming font, with its hints of the exotic, originally carried the rather prosaic name of Show Card Roman. It appeared in the book "Art Alphabets and Lettering: an encyclopedia of lettering including the most important standard alphabets and such classics as are in most demand for the use of engravers, designers, and all lovers of art" by the evidently rather verbose J. M. Bergling (1866-1933). As a nod to its exotic overtones, the font is named after the 1872 utopian novel of the same name by Samuel Butler.

Romeo is a perfect couple of Julieta , they are a condensed, unicase family full of swashy love. Inspired by romanticism, Romeo is a charming and versatile typeface. By alternating uppercase and lowercase, and mixing them with alternate characters, ligatures, swashes and endings, you obtain endless possibilities of composition, with 810 glyphs available in the Pro font. In case you don’t need all these alternatives, there is also an Essential version consisting of 247 characters. In addition, Romeo has an affordable set of ornaments, connectors and catchwords to complete this attractive display system. Photography by Damien Vignaux (www.elroy.fr)

Julieta is a perfect couple of Romeo , they are a condensed, unicase family full of swashy love. Inspired by romanticism, Julieta is a charming and versatile typeface. By alternating uppercase and lowercase, and mixing them with alternate characters, ligatures, swashes and endings, you obtain endless possibilities of composition, with 810 glyphs available in the Pro font. In case you don’t need all these alternatives, there is also an Essential version consisting of 247 characters. In addition, Julieta has an affordable set of ornaments, connectors and catchwords to complete this attractive display system. Designed by Paula Nazal Selaive.

ANTIO Greek Font is a brush font. ANTIO Greek Font is an all Caps marker font. Also, the font is a multilingual font with Greek (of course), Latin characters and diacritics. The style of this typeface is perfect for your modern graphic design needs. Food packaging, restaurant menus, coffee and bar menus, and food industry branding are some examples of the numeral applications of this typeface. The shabby-chic style of the font is perfect for your graphic design needs like social media quotes, blog headers, posters, art projects and why not packaging, and logotypes.

Quickat is a handwritten font, thick, condensed calligraphic style has several sets of terminal ornaments for decoration of phrases and titles. This font is drawn by hand with a pen following proportions based on the numbers of Perrin applied completely to the capital letter H and from this letter all the proportions of the rest of the alphabet are calculated according to mathematical formulas that I have been perfecting and putting into practice in my last fonts, is ideal for designing greeting cards or weddings, posters, flashy headlines or small texts.

Griggs is a variable type family with six-axis. Available as both static and variable font built to maximize versatility. This is a single variable font that can morph between a wide range of stylistic variations with each of its axes: Weight, Serif, Grade, Stylistic Set 1, Stylistic Set 2 and Slant. Also offer a variable subtle grade axis for slight weight adjustments, to user different preferences. For slant axis will automatically apply stylistic set 2 or set custom values on each axes for more options. A multi-purpose sans serif and serif typeface with high contrast, inktraps, sharp form, clean cuts and playful details, to convey the impression of opulence, elegance with a distinctive look. It comes in 3 distinct individual cuts within the Sans, Flare, and Serif subfamilies. Allows for many variations across its subfamilies, weights and styles. Each typeface contains with a warm personality and contemporary look. With different stylistic sets, you can choose the best-desired result for your design. You can change the feel of your design from more delicate, to bold to its sharpest most style. Griggs family with various styles will be an handy tool for a wide variety of designs. Excellent for text large and small. It’s a brilliant choice for branding, identity design, editorial design, logo design, display and packaging design etc. Typeface Features: * 325 Glyphs * 3 Subfamilies: Sans, Flare, Serif ( Each 8 Styles + Slant ) * 6 Weight: Thin, Light, Regular, Semi Bold, Bold, Black * Complete Collection: 144 Styles + Variable Font * Opentype Features: Stylistic Set 1, Stylistic Set 2 * Latin Language support including * Kerning * Autohinted Thank You.

Nagham was designed using uniform glyph thickness throughout and exaggerated letter heights to offer a vertical look and feel. It supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. This font family includes two letter spacing flavors: isolated for small text and overlapped for large or display text. The two flavors come with two weights, regular and bold, each of which has normal and left-slanted Italic versions. The script design of this font family follows the Arabetics Mutamathil Taqlidi style utilizing varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Nagham includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph.

Gerard Unger’s new typeface Alverata is a twenty-first-century type-face inspired by the shapes of Romanesque capitals in inscriptions of the eleventh and twelfth centuries, without being a close imitation of them. It is additionally based on the early twentieth-century model, but tweaked so as to prevent blandness and monotony. Alverata performs beautifully in both screen and on paper, delivering excellent legibility. Its letters are open and friendly in small sizes and lively and attractive in large sizes. They are robust, and show refinement in their detail. Unger’s Alverata is an extensive type family, with versions for both formal and informal applications, and with Greek and Cyrillic relatives. Alverata consists of three different fonts: Alverata, Alverata Irregular and Alverata Informal, that vary in form and width, but maintain the same spirit. The Irregular version is particularly inspired by the Insular letterforms, the uncials, and their constantly changing positioning. Alverata strikes a balance among Europe’s diversity of languages, combining contemporary typographical practices with features of medieval letterforms, from the time when Europe came into being. Visually, some written languages, such as Czech and Maltese, differ quite strongly from languages like English and German, notably because of their many accented characters. While other typefaces will show this difference, Alverata removes it. As a result, Alverata enables harmonious convergence of languages.  For the development of the Greek letterforms, Unger collaborated with Gerry Leonidas (University of Reading) and Irene Vlachou (Athens), and with Tom Grace on the Cyrillic letterforms.