Offhand Brush is a fast and spontaneous brush font with quite a messy feel, a great option for book covers, packaging projects, album art, web titles, and even small chunks of text. It looks messy, but don't get it wrong: on the inside, it's a laborious piece of work, with four alternates for each Latin letter and two for numerals, as well as two options for Cyrillic and Greek letters. To make things even more uneven, there are still a few different letter designs programmed to pop up when specific combinations of three or four glyphs appear in the text. These are managed by the OpenType 'Standard Ligatures' feature, although they are far from standard and are not quite ligatures. And why so? Because this way it will usually be on by default, making the font way more interesting. Hey, wait! There are some ornaments too. And a couple of contextual kerning pairs, hell yes! Use it big!

Hispania Script is a distinctive and distinctly nineteenth century script. It was released by Schelter & Giesecke of Leipzig, Germany around 1890. Particularly noteworthy are the sharply-pointed legs of the upper case ‘K’ & ‘R’ that seem to be characteristic of the period. Similar strokes, often with a slight curve, may be seen in typefaces like Alt-Romanish and Tinteretto by Schelter & Giesecke, Artistic and Lateinsch by Bauer and Berthold and the poster lettering of Edward Penfield. The angle of this script (approximately 24 degrees) and the sharp delicate points must have made the manufacture of this face in metal type a challenge. The resulting type was probably quite fragile and subject to accidental damage. Additionally, the sharp points would be subject to wear. With digital type, these concerns are eliminated. As far as I know, no one has ever dropped a digital letter on the floor. Nonetheless, creating a digital outline for a typeface like Hispania Script, with many crossing strokes, can be quite time-consuming. Even with an accurate scan of a good quality original, it is usually necessary to construct each crossing stroke separately and then remove the overlap in order to obtain a sharp and convincing intersection. Steep internal angles are often defined with two points, rather than one, to minimize ink or toner fill that can muddy the rendering in smaller sizes. Like all formal scripts, Hispania Script is always useful for announcements and invitations. However, the distinctiveness of of this design strongly suggests that there are other applications that may benefit from its use. Step outside the box and try it in some unexpected places. It is the unexpected that often draws a person’s eye.

Looking for something new for setting powerful headlines? Need a font that can create logos with ease? How about something masculine, a design with authority and panache? Then ITC’s newest typeface, ITC Sportbet™, may be the perfect choice. ITC Sportbet is a design that should be set tight, creating an arresting graphic image as well as words. Although a capital-only typeface, it benefits from a large suite of alternate characters that enable individual words and headlines to be customized with a distinctive personality. In addition to the obvious power of ITC Sportbet’s square-jawed character shapes, it’s fun to use. Exchange one or two letters with their alternative designs and a brand new headline or logo appears. ITC Sportbet was designed by Dane Wilson, the principal of the London-based design firm of Dane Design. Although this is his first commercial typeface design, Wilson has ample experience creating logos and custom typefaces for corporate branding. In fact, Sportbet grew out of such a project. “The idea initially came from wanting to provide a client with a stylish, modern and graphically impactful corporate identity logo font,” recalls Wilson. “Although the first sketches looked promising as a typeface, because of time and budget constraints, developing an entire alphabet would be overambitious.” Not to be deterred, Wilson continued to work on the design when time permitted. He eventually completed the font and started final application tests. The results looked good to Wilson, but he felt that the design was missing something. “I hit upon the idea of breaking out the left side of all the closed counters,” Wilson wrote about the design. “This simple device gave Sportbet the kick it needed.” Although one weight and a capital-only typeface, Wilson’s ITC Sportbet should prove to be a powerful and versatile communicator.

This font has a whimsical mix of four kinds of handwritten lettering: plain, looped, blotched and stylish double lined. The playful letter mixture really livens up the text. Cute. Perfect for scrapbooking :) ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The first handwritten font from CheapProFonts - and what a beauty it is! The original font had no diacritics at all, so all have been designed to fit. This friendly looking font is ready to scribble some notes or something. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The letters in Xenophone were created from hand-drawn figures in which coins were traced around to create curves and circles. Some capital letters resembles symbols from the greek and International Phonetic Alphabet. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

This is the cool and stylish relative to Familiar pro. Like a cousin. Or perhaps a second cousin twice removed. Because parts of the letters are removed, see... ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Around 1931, the Los Angeles Times (in partnership with the Richfield Oil Company) installed on its building a moving message board similar to the one at the New York Times in New York City which they dubbed an “electric newspaper”. The style of characters used on this electronic sign were the basis for the namesake font Electric Newspaper JNL, which is available in both regular and oblique versions. A blank space to place between words is available on both the solid bar and broken bar keystrokes.

Get over the trauma of seeing that icky dog carcass in the alley this morning, you know, the one with the tire tread on the burst stomach? The city might be afraid of you, but now you can see its true typeface. Yes, when the gutters between YOUR comic book panels are full of blood, we here at ComicBookFonts.com recommend DaveGibbonsJournal for all your psychotic ramblings. Don't pose precariously on the precipice of a building without it. Artwork by Dave Gibbons from Elephantmen #25

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.

"Dulya" is a weird, funny and irrational font. The design of the letters is based on the handwriting which is usually taught in school but the letters' graphics are geometrically transformed to make them interesting. The font has many alternative characters, so you can very freely control the texture of the text. Dulya supports Basic Latin and Extended Latin, Cyrillic — in total about 90 languages are supported. The font has one Regular weight, alternative characters, Uppercase and lowercase. Dulya font was designed by Viktor Pesotsky.

The cover of the 1907 sheet music for "I'd Rather Twostep Than Waltz, Bill" was hand lettered in an Art Nouveau sans serif alphabet. During the hippie counter-culture movement of the 1960s, rock posters, album covers and other printed ephemera of the time embraced the styles of lettering and art made popular during the early 1900s. It seemed only fitting to name this type design Nouveau Hippie JNL as an homage to both eras. The font is available in both regular and oblique versions.

Diamond Ring is an Art Deco font inspired by Japanese designs for cosmetic packaging and posters used from the end of the 19th century to the early 20th. The most distinguishing characteristic is the diagonal parts of the glyphs. All diagonals have the same degree of the angle. By this elements, whole design of this font and typography with this font look like the shining of diamond ring during total solar eclipse. When you prefer more humanly letter form, please try our Yasashii that used in La La Land.

The German-born designer Lucian Bernhard designed Bernhard Fashion in 1929. An American" typeface, Bernhard's original design was created for the American Type Founders (ATF). It bespeaks the spirit of the roaring 20s. The hairline-thin letters exhibit elongated ascenders (but not descenders), and many stylized elements. The capital letters also all descend visibly below the baseline. In text, the extra large capitals seem almost like drop caps. This typeface is best used sparingly in text. Largely set headlines will allow readers to enjoy the fashionable quality of Bernhard Fashion's design."

Addressotype is based on lettering from a vintage ad for the Addressograph-Multigraph Corporation, manufacturers of the Addressograph addressing machine. In days when the U.S. postal service delivered everything, mailing addresses were as important as email addresses are today. The Addressograph machines stamped out dog-tag-like plates that were used to print mailing labels at high volume. Embodying the company’s work ethic and durability, Addressotype recalls the gaspipe form of lettering popular in the 30s and 40s, updated to reflect the “streamlining” trend popular during the period.

FREIBEUTER NR is a typical Western font but this is based on a FAMOUS Motorcycle Club from the television that everyone knows. The word FREIBEUTER is the German version of pirate. FREIBEUTER did in earlier times what pirates do, but they do it with the government togetherness. NR stands for NIEDERRHEIN, this is the area where I live and work. The PATCH Version is the best way to make fast a nice Banner or Patch with this font. You can use the WrapTEXT tool in Illustrator or Photoshop to wrap the banner in al forms!

Supporting Cast JNL is a hybrid of similar designs for hand lettering found on title cards from two morality photoplays from 1936 dealing with drug abuse, "Cocaine Fiends" and "Marihuana" respectively. The films were produced with the hope of educating the public against the dangers of illicit drugs, but they have taken on a cult status because of the dated approach to the problem. Despite all this, it is the Deco-influenced hand lettering which is being celebrated in this font release, not the subject matter of the films.

Basile is the conclusion of a process that began with the learning of italic handwriting in a roballos-Naab studio course. In this workshop I developed a variation of chancery handwriting which had a more pronounced wider than its historical model. While making the digitalization, the forms were modified to obtain a similar spirit to the one in the handwriting, but thinking about the text in small sizes. Also incorporating three sets of forms enlarged the family: italic, swash and extra swash. And the addition of initials and terminals sets.

Romford Stencil is a Brexit inspired typeface. It’s letterforms represent the idea of a union splitting apart and the stylistic differences between the upper and lower case symbolise the notion of being different from one another. Research for this typeface started off in Romford which is an area where the majority of UK voters wanted to leave the European Union, hence the name. Romford Stencil is designed to be readable for body copy and look impressive when used as a display typeface. However, the bigger it's size the better it looks, especially in all capitals.

Franko Luin, Marco Polo's designer, on this typeface: Marco Polo is a 'massacrated' oldstyle typeface that can be used in the same way as, e.g., Caslon Antique. I designed it - if the word design is appropriate in this case - to give the users an alternative so that they are not always directed to the same choice. For the same reason I made Marco Polo rounder. The name comes from the famous Venetian globetrotter, who has nothing at all to do with the typeface, since printing and punchcutting were still an invention of the future.

In the days of hand lettering, a common philosophy was "the problem creates the solution". Often times the layout artist would have to adapt the lettering style to fit the amount of copy on a line. A perfect example is during the early 1900s, when popular sheet music of the time almost seemed to be competing for how many words could be used within a song's a title. One such piece of sheet music offered up the tall, condensed and variable-width lettering found within Narrow Minded JNL.

Aqua Life is a pictogram font from the Monotype Design Studio. It contains 26 vibrantly drawn images of fish and other wildlife you might find at the seashore or in your aquarium. Some of the fish look out at you rather inquisitively! Don't miss the shark, the giant squid, the octopus, the happy slug, the diving seal, or even the old-fashioned deep-sea diver and coy mermaid! Each of these symbols is best used in a very large point size. Perhaps one of them will illustrate you next newsletter or classroom poster?

The calligraphy font Banner was designed by Martin Wait in 1986 and mixes the character of the 1940s with that of the 1980s in its forms. The round and somewhat reserved lower case letters make a balanced basis for the generous capitals. Black outer contours surround a white inner area and are heavier on the right side of the figures, making the characters look as though they have shadows. Banner should be used in point sizes of 18 and larger and is meant for lighthearted short texts or headlines.

The English roundhand has always occupied the central position in the group of faces appropriate to the social printing handled by engravers, and their contemporary imitators, thermographers. At the end of the nineteenth century when engraving was mechanised by the pantographic engraving machine, the traditional roundhands found their way onto pantographic pattern plates. Embassy is a traditional roundhand of vigorous contrast with straightforward capitals with ball terminals; it was transferred from such an engravers’ pattern plate to the Fotosetter at Intertype about 1955. Alphatype’s Yorktown is similar, but appears to have less contrast.

Sinffonia is a beautiful ornamental font family. Its thin weight and roman style makes very elegant and ideal for any high quality project. The Open Type version, plenty of ligatures, alternative Characters and ornamental characters, is carefully programmed to replace automatically the glyphs accord to the feature and context so you can modify the aspect of the text easily without any incoherence in the design (i.e. overlaps and collisions). Non Open Type users can try the four plain versions of Sinffonia, which includes some of the beautiful ornamental characters of the OT version.

The Pandorum font was especially designed by Alejandro Lecuna and Henning Brehm for film sets in the science fiction movie “Pandorum” starring Ben Foster, Antje Traue and Denis Quaid. It was used for all signage, logos, posters and monitors in the spaceship “Elysium”.

Another variation on the Renaissance-Baroque Roman face, it extends the selection of text type faces. In comparison with Jannon, the contrast within the letters has been enhanced. The dynamic elements of the Renaissance Roman face have been strengthened in a way which is illustrated best in the letters "a", "b" and "s". These letters contain, in condensed form, the principle of this type face - in round shapes the dark stroke invariably has a round finial at one end and a sharp one at the other. Another typical feature is the lower-case "g"; the upper part of this letter consists of two geometrically exact circles, the inner of which, a negative one, is immersed down on the right, upright to the direction of the lower loop and the upright knob. The vertical strokes slightly splay out upwards. Some details of the upper-case letters may seem to be too daring, but they are less apparent in the text sizes. It has to be admitted that typographers tend to draw letters in exaggerated sizes, as a result of which they stick to details. Serapion Italic are italics inspired partly by the Renaissance Cancelleresca. This is obvious from the drop-shaped finials of its lower-case descenders. The type face is suitable for illustrated books, art posters and short texts. It has a rather ugly name - after St. Serapion.

FlorishesA are a set of flourishes, that serves well for frames and other elegant embellishments, they are beginning of last century American. Your I-found-them-somewhere type-designer, Gert Wiescher

Como is a modern rounded sans-serif family designed by Ryoichi Tsunekawa and the whole family consists of 8 weights from ExtraLight to Heavy. The basic skeleton of their letterform was designed geometrically and their ends were rounded out. The sophisticated geometric design gives them universality, neutrality and sense of unity for the use in all media, all purposes. And their large x-heights makes this family legible and readable. While at the same time, the rounded ends characterizes this family and it makes them very friendly and natural. This rounded feature will also accentuate your design work moderately. Como supports almost all European languages: Western, Central, South Eastern Europeans and afrikaans. And superior figures, inferior figures, denominators, numerators and fraction can be accessed by using OpenType features.

Are you prepared to add a retro energy and the vivacious pop culture of the 1980s to your creative projects? Look no further than Tokyo City Pop, the ideal retro pop font that is ready to give your creative pursuits a fresh and vibrant edge! Tokyo City Pop yells instead than merely speaking. Its text is bold and funky, dancing across the page and vibrating with the energy of a busy city. Each word evokes a burst of vitality, embodying the youthful spirit and inventiveness that characterize urban landscape. This typeface is perfect for an vintage stuff, retro poster layout, magazine design, packaging, food & beverages and also good for quotes, or simply as a stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Multilingual Support Works on PC & Mac

Introducing KIDROS Typeface The KIDROS font is designed with a sans serif font concept that has a retro display stencil style. Irregular dynamic shapes but impressively regular and unique make the font "KIDROS" different and steal attention. Sans serif typefaces such as "KIDROS" are very easy to apply to any design, especially those with an retro, vintage and strong, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The "KIDROS"contains 540 glyphs with many unique and interesting alternative options. Plus, there's a cool sans serif font family for header and description text from thin to heavy to thin. In the poster preview all the letters are in the KIDROS typeface.

Vintage sheet music for a song from the 1941 animated feature "Mr. Bug Goes to Town" featured a casual, hand-lettered inline type style on its cover page. Recreated as the digital font Go to Town JNL, this design is presented in all the imperfect glory of pen and ink lettering. Go to Town JNL is available in the regular inline version as well as a solid version. A bit about the cartoon: The project was created by the legendary Fleischer Studios in Miami, Florida (they had relocated from New York City), after they could not obtain the rights to adapt Maurice Maeterlinck's "The Life of the Bee". Beset by the expenses of relocating to Florida, growing production costs on the full-length feature cartoon and other problems; mid-way through the making of "Mr. Bug Goes to Town" the Fleischer brothers were forced to sell their studio to their distributor (Paramount Pictures) in order to continue in operation. It was released on Dec. 5, 1941 - just two days before the Japanese attack on Pearl Harbor. The release [and subsequent re-release by Paramount as "Hoppity Goes to Town"] was a disappointing failure, earning [as late as 1946] only $241,000 of the initial cost of $713,511 it took to make the film.

Futurum Parqez is the first collaborative font for Parquillian Design. The idea for this font first came to the creator, Jose V Lopez, almost 40 years ago. A couple years ago he shared his concepts and we were gradually able to collaborate on editing the designs and turn them into a working font. The philosophy behind the font is to use a standardized frame format and the fewest strokes possible, while maintaining legibility, to create an original minimalist and modern style.