As usual, I stumbled upon a great 1971 Italian movie poster when looking for something else. The poster for “La Morte Cammina Con I Tacchi Alti” (directed by Luciano Ercoli), was made by an unknown artist and comes with a great font. Cortese was based on this movie poster font, but as I started working on the glyphs, I figured they would even look better in ligatures. So here it is: Cortese font - complete with 135 ligatures, accents and even Greek and Cyrillic!

The Corset Pro is not another font, but not exactly and the same, as the previous two (Khamai Pro, Aeolus Pro) but is simple a different... But it has common elements and is based on two earlier. A new style added is Inlier, has this advantage engagement with Βlack style in the same manner explained in Aeolus Pro. And this series is composed and includes 12 fonts with 625 glyphs each, with true italics and supports Latin, Greek and Cyrillic.

Microsoft Sans Serif™ Regular is a very legible User Interface (UI) font. It was designed to be metrically compatible with the MS Sans bitmap font that shipped in early versions of Microsoft Windows. The original MS Sans was in the inflexible .fon bitmap format and could not be scaled. Microsoft Sans Serif Regular is much more flexible and legible as it font antialiasing and scalable user interfaces. Character Set: Latin-1, WGL Pan-European (Eastern Europe, Cyrillic, Greek and Turkish).

Decima Mono Pro is an upgrade of the well received Decima Mono typeface, released back in 2009 and quite successful ever since. This is a modern monospaced condensed sans serif family with classic geometric design, built in three weights and six styles. The letterforms in roman style are techno (engineered) in appearance, while italics remind one of elegant handwriting balanced with Roman geometry.\ The typeface is released in OpenType format with extended support for most Latin languages, as well as Greek and Cyrillic.

Alice in Wonderland. Innocent, emotional, almost childish, looks like it just came out of a fairy tale. The long stems, quirky serifs and loose characters, as well its youthful energy, establish an emotional attachment to this typeface. So perfect for children's books. Designer Dimitris Foussekis completed this font with a matching series of 62 pictograms the so-called ‘Wonderbats’. Now, the brand new ‘Pro’ version has been expanded to include all European languages by supporting simultaneously Latin, Greek and Cyrillic scripts.

Astonice is a beautiful calligraphy font family with 3 weight variants: Regular, Semibold and Bold. Astonice has more than 1100 glyphs each, has opentype feature such as stylistic sets, stylistic alternatives, and old number form. Astonice supports a wide range language: Latin plus Greek and Cyrillic. Astonice is suitable for most typing and design such as cards, logos, banner, posters and others as you intended. Beautiful glyphs, OpenType features and 3 weight, Astonice provide you the right choice for your best design.

Boldina consists of 18 fonts with a lot of personality. This is a font to be mixed. That’s its purpose and that’s why it's designed as one single weight in so many different styles. My intent was to give designers a chance to use the same typeface in many different ways, putting together sans and serif, lots of italics and even Greek, Cyrillic and CE characters. The Ligatures and the Script versions give a more poetic and more accurate feeling to the text.

Warrior is a chunky typeface design inspired by a Russian Egyptian-style block alphabet (original designer unknown). Now available in seven weights (Hairline, Extra Light, Light, Medium, Regular, Bold, Black) in addition to three decorative styles: Shaded (3-dimensional), Inline, and Open. With its blocky letters and stable slab serifs, Warrior will add a bold, masculine look to your design. All members of the Warrior family support most European languages including modern Greek, and, of course, languages that use the Cyrillic alphabet.

Palitura is a display typeface designed to translate Cyrillic flavor into the Latin script. Palitura means lacquered book cover in Old Ukrainian. The design of letter shapes is inspired by Early Cyrillic handwritten letters and Ukrainian patterns that are conveyed through the sharpness of form, vertical strokes that are narrower at the bottom, stylized oblique hooks at the top, and triangular accents. Languages: 480+. Scripts: Latin, Greek, Cyrillic. Specimen: michaelrafailyk.com/typeface/specimen/Palitura.pdf The promo images used photo of Tima Miroshnichenko from Pexels.

Hyperon is a text typeface, which is especially useful for math and physics literature. Its nature is defined by austere and humanist features that show the most in italic. The typeface includes weights from Regular to Black and widths from Condensed to Semi Expanded. What stands out for Hyperon is the extended character set, with added Greek and lots of mathematical signs. Some styles have small caps. The typeface was designed by Natalia Vasilyeva and released by Paratype in 2020.

Roundica is a modern geometric typeface inspired by both classic typefaces of the 20th century like Avantgarde, Bauhaus, Futura, Helvetica and some modern fonts such as Abeat By Kai, Comfortaa, Gotham. Started in 2018 Roundica is the main reason for the appearance of Fontease Type Foundry. With its 834 glyphs Roundica includes extended Latin language support, but also Cyrillic and Greek. Designed with OpenType features like ligatures, fractions, small capitals etc., Roundica is perfectly suited for graphic design and any display use.

The Modern Times is the most popular font developed by me. It was sold more than any other of font that I created. The earlier version supported Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian, Cyrillic, Greek, Georgian languages. Last year, I decided to update it. The new version is called TA Modern Times. Its OpenType features include 1200 glyph, Stylistic Alternates, Stylistic Set 01–12, Standard and Discretionary Ligatures, Numerators, Denominators, Subscript, Superscript, Ordinals, Contextual Alternates and Kerning. Currently, supported languages are as following: Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian, Cyrillic, Greek, Hebrew. Additionally, the font has multiple styles such as Semi Condensed, Condensed, Extra Condensed, Ultra Condensed, Rounded, Inline, Outline, Semi Expanded, Expanded, Extra Expanded, Ultra Expanded. 6 previous versions of the font are FREE. You may download and enjoy it. Latin Plus languages supported 95% Latin Plus diacritics included 88% TA Modern Times OpenType features list: aalt, calt, case, dlig, dnom, frac, kern, liga, locl, numr, ordn, salt, sinf, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, subs, sups TA Modern Times graphic presentation at Behance

Kostic Serif is a classic transitional typeface (like Baskerville, Bookman, Caslon, Times) with tall, clean characters and a large glyph set to support all European languages - Greek and Cyrillic script included. Excellent for setting multiple pages of text and packed with OpenType features (proportional lining and oldstyle numbers, tabular figures, superscript and subscript, numerator and denominator figures, fractions and 31 ligature in 659 characters), it should meet the demands of even the most demanding typographic works. Kostic Serif is made with fairly large x-height, so the text is legible in very small sizes. Zoran began the work on Kostic Serif around 2002 and after completing Regular, Bold and matching italics, he wasn’t too pleased with the design, so he dropped further work on it to make other fonts. In 2010 Nikola came upon unfinished files for Kostic Serif, and decided to redesign the letters, while retaining basic proportions and widths that Zoran established earlier. When they were both pleased with the new look of the font, they made Medium and decided to add CE and Greek script to the glyph set, to make it pan-european.

This font began its life as a project to design a T-shirt for a student group on a large midwestern university. It has now grown up into a unicode font, including Greek and Cyrillic. It has that look and feel of the T-shirts that are ubiquitous on the campuses of colleges and universities over the world. It would make an ideal tool for designing them, as well as posters and banners. Characters in these fonts include Latin, for English and other European languages; small a and c for names like MacDonald; many fractions, including 0/3 needed in baseball; Latin with diacritical marks for Eastern and Western European, Turkish, and Baltic languages; thorn, eth, cedilla, AE, OE, and sharp S for French, German, Icelandic; Latin extensions for clicks of some African languages; Greek (with tonos); Cyrillic for Russian and many other Slavic and Asian languages that use it; most Runes (the full Futhark plus a few more); six-point Brialle; currency symbols for dollar, cent, pound, yen, euro; and a few other extras like the peace sign. Available styles are regular block letters, outlines, and bold.

Features: Over 1200 gyphs in 14 styles; True form of italics; Humanist character and proportions; Extended Latin, Extended Cyrillic & Greek scripts; For more than 130 languages Moderate contrast; Perfect for text, headlines and web; Coverage of many OpenType features Ligatures, Small Caps, Case sensitive forms, OldStyle figures, Tabular figures, Fractions Named after a star and inspired by the cosmos, Alkes traveled a long way from a graduation project to a published multiscript serif type family. Designed with the intention of harmonising between three scripts - Latin, Cyrillic and Greek, the contemporary, yet well defined humanist serif combines the best out of the digital and analog worlds. Featuring a generous x-height, wide letter spacing, large open counters and angled stress contrast, Alkes is highly effective for editorials and publishing, where long texts and legibility are the key forces. Its attractive details, calligraphic structure and asymmetrical serifs shine through in the larger sizes and make Alkes suitable for headlines. Alkes has a pull with editorial designers, graphic designers and publishers who aim for a clear structure, hierarchy and coherent non-Latin scripts for both print and on-screen environments, in order to achieve otherworldly designs

Fox Admire is a cute and fun color font. This font is your go-to for crafting cute greeting cards that express affection and warmth. Whether you’re a designer, a social media influencer, or someone with a penchant for creative expression. Fall in love with its authentic feel and use it to create gorgeous invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards. Add this beautiful font to each of your creative ideas, and notice how it makes them stand out. Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/ 🌺🌺 Please note that the Canva do not support color fonts! 🌺🌺

Fox Rosie is a cute and fun color font. This font is your go-to for crafting cute greeting cards that express affection and warmth. Whether you’re a designer, a social media influencer, or someone with a penchant for creative expression. Fall in love with its authentic feel and use it to create gorgeous invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards. Add this beautiful font to each of your creative ideas, and notice how it makes them stand out. Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/ 🌺🌺 Please note that the Canva do not support color fonts! 🌺🌺

Fox Annie is a cute and fun color font. This font is your go-to for crafting cute greeting cards that express affection and warmth. Whether you’re a designer, a social media influencer, or someone with a penchant for creative expression. Fall in love with its authentic feel and use it to create gorgeous invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards. Add this beautiful font to each of your creative ideas, and notice how it makes them stand out. 🌺🌺 Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/ 🌺🌺 🌺🌺 Please note that the Canva do not support color fonts! 🌺🌺

Fox Muffin is a cute and fun color font. This font is your go-to for crafting cute greeting cards that express affection and warmth. Whether you’re a designer, a social media influencer, or someone with a penchant for creative expression. Fall in love with its authentic feel and use it to create gorgeous invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards. Add this beautiful font to each of your creative ideas, and notice how it makes them stand out. Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/ 🌺🌺 Please note that the Canva do not support color fonts! 🌺🌺

Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after. The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. »Prillwitz Press« combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes. This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1). The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font. The type family has all important characters for an efficient and typographic high quality work. ----------- (1) Accentuation of particular words or word orders (e.g. proper names, terms etc.). Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.

Josef Albers drew a stencil sanserif form at the Bauhaus in 1923 (published in 1926); Paul Renner and the Bauer design office made a similar design into a typeface in 1929, and rather confusingly included it in the Futura series. Many websites erroneously attribute the stencil design to Josef Albers, but there is no evidence that the two met or collaborated on Futura Black. In 1929 Josef Albers and Jan Tschichold corresponded on the “Transito” typeface (another very similar stencil typeface, while Paul Renner was working with Jan Tschichold.

Sukothai is a traditional Thai design based on early metal type. The classic and distinct forms make it excellent for setting text at small sizes or in large passages. Originally released by Linotype for digital photocomposition, now both the Light and Bold weights are available in OpenType format. This makes it possible to dynamically and precisely position the various levels of superscript and subscript vowel signs and tonal marks. In addition to this, the complete Unicode page range for Thai is covered to ensure flawless conversion between other OpenType fonts using Unicode. The accompanying Latin design matches well in scale and texture and supports most Western European languages making it ideal for setting bilingual texts.

Andron 2 ABC is a product developed especially for children’s literature. It is an ideal choice for primers and other books for the age when children are learning to read. The typeface has the same peak typographic quality as any other font of the praised Andron series—the very best is just good enough for our kids, is it not? As a difference from the normal glyph set (as in Andron 1 Latin or Andron Mega), the letters a, g and y have those simpler single-story shapes that resemble the forms usually taught in writing, which are sometimes called infant letterforms. Now, Andron 2 ABC is available in a full four-font family set.

Madison Antiqua was original released as a metal typeface for hand-setting in 1965. The letters were produced by D. Stempel AG in Frankfurt, Germany. Their design was based heavily on an earlier German typeface named Amts-Antiqua, which had also been produced by Stempel. Amts-Antiqua is credited to Henrich Hoffmeister, and he developed it between 1909 and 1919. Madison Antiqua is an excellent selection for body text in magazines and newspapers. The typeface features a characteristic x-height, and attention-grabbing serifs. For a time, Madison Antiqua was associated with advertising design, because of its namesake: Madison Avenue in New York. Madison Avenue is a global center of advertising excellence.

The original inspiration for Blue Parrot came from a short scene in the classic film Casablanca. For just a few seconds, the exterior of Ferrari's Blue Parrot night club is shown, complete with a wonderful hand-lettered sign... all in capital letters. Blue Parrot JNL was originally released in 2006, and it wasn't long before a few people noted that the font would also look good with a lower case alphabet. The idea of adding in lower case kicked around for a couple of years until Jeff Levine finally completed a revision of the font. In this version there's also an expanded character set thanks to the creative input of Michael Hagemann of Font Mesa.

This is not an historically accurate font but rather one intended capture the spirit of ancient Roman manual type. It was inspired by various patterns used in documents and books created by Latin scribes between the second and fourth centuries. They used either calamus and ink on papyrus, or a pointed metal stick on wax tablets. We have created the font for contemporary use; distinguishing between U and V, I and J, which had no meaning for ancient Latin scribes, and adding thorn, Oslash, Lslash, W, Y and common accented characters that did not exist at the time. A lot of titlings and contextual alternates complete the set. Available only in TTF and OTF format.

There are thousands of pieces of vintage sheet music available for collectors and curiosity seekers. Prior to the 1930s, a large percentage of them had wonderfully hand-lettered titles on the covers, but gradually there was a shift by music publishers to utilizing metal type for the bulk of their output. Normally set in an all-caps format, certain type faces reappeared in growing frequency and familiarity. Composer JNL is one such example of a “workhorse” font, and has been re-drawn and reinterpreted by Jeff Levine Fonts in both regular and oblique versions. It is based on the design "Glamour", released by Lanston Monotype in 1948; which in turn was based on "Corvinus", designed by Imre Reiner.

In researching historic decorative material offered by Lanston Monotype as well as other metal foundries such as Barnhart Brothers and Spindler, there were occasionally ornaments that defied description. Perhaps it was a Victorian sense of humor or someone really thought these were a good idea or perhaps popular taste has just changed so much over the last hundred years, or our forbearers were completely insane. In any case, LTC is somewhat proud to present a collection of the most bizarre, disturbing and baffling printers ornaments we could find. Along with mutant fowl-children and frolicsome amphibians, there are also Masonic and other secret fraternal symbols that may not be creepy to everyone, but just enough to be moderately disturbing.

Skiltmaler is the typeface that refers to the style of decorative arts during the Victorian era 1837 to 1901, the Victorian era was the period in which fly poster typography emerged. The large amount of colour in combination with large font sizes were created from movable metal type. As well as being made from wood, this was used to create the two-coloured typefaces. You would imagine this would be specific to the '3D' styled type seen on the poster to create the drop shadow. Skiltmaler works well with normal size text, but it works even better for large displays, short words, or even just to incorporate a few or single characters in a design.

It's finally here, Algerian Rnd is an all new version of our Algerian Mesa font with rounded soft corners and serifs. Imagine the impact Algerian Rnd will have on your product label and packaging. Algerian Rnd is a new timeless beauty that you'll find many uses for in your logos and advertising. Algerian Rnd is for every generation, put it to work in your next project, you're going to love this font. Algerian Rnd does include some alternate glyphs which you'll need an Opentype aware application to access the alternates in Algerian Rnd. Algerian Rnd is ideal for product logos, labels, packaging, t-shirt designs and other merch. Algerian Rnd is a trademark of FontMesa LLC

A sheet music edition of an early 1900s song entitled "You Taught Me How to Love You, Now Teach Me to Forget" was hand lettered in a free-form Art Nouveau style that combined varying line widths and character shapes. This unrestricted style of lettering was popularly embraced and revived by the hippie counterculture of the mid-1960s through the mid-1970s through their rock concert posters, record album covers and tee shirt graphics. It is now available digitally as Nouveau Artiste JNL. As a side note, a 1940s reprint of the sheet music was done in a popular metal typeface, which was also redrawn digitally and available as Elite Resort JNL [in both regular and oblique versions].

Stucco is a construction material that is used as a decorative coating for walls, ceilings, exteriors, and as a sculptural and artistic material in architecture. Stucco can be applied on construction materials such as metal, concrete, cinderblock, or clay brick and adobe for decorative and structural purposes. In similar fashion, the Stucco font is designed to be a decorative piece and is intended to support a wide variety of mediums. The font is intended to be used as a header or headline font, but a creative designer will find other uses for it. The font contains 300+ glyphs which includes uppercase letters, lowercase alternates, numbers, symbols, accented characters for multiple language support.

P22 CoDependent is a revival of the Independant typeface from 1930 created by Dutch designer Johannes Nicolaas Coenraad Collette along with Jos Dufour from Belgium. Independant was released in metal by the Belgian division of the Amsterdam Type Foundry in commemoration of the 100th anniversary of the independence of Belgium from the Netherlands. Despite the name, the two fonts contained in the set, Regular and Shadow, are not codependent upon each other. They can be used alone, but together they can create a dynamic two-color option. There have been other fonts inspired by and revived directly from Independant, but this version adheres the original design with the added consideration of how the shadow version will overlap.

Splendor was originally produced and released in 1930 by Schriftgu� AG, Dresden. The typeface was designed by Berlin designer Wilhelm Berg. Ralph M. Unger, who in the last few years has created a whole series of revivals and redesigns from the hot metal era, ?retrieved? this jewel of a typeface design, redesigning, complementing and digitally remastering it for profonts. Splendor is a broad nip, non-connecting handwriting script of timeless elegance, charm and beauty. It needs tight setting with plenty of space around it. The font contains a number of alternate characters: Two uppercase As, Ss (with descender); in addition, two uppercase Ms, Ns and Zs as well as two lowercase zs.

Mecanica is an original design by Alex Kaczun. It is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Mecanica is a futuristic, techno-looking and expressive typeface with an appearance of metal-like parts with some very sharp edges. This attractive display comes in roman with lower case and lining figures. The font also is available with true-drawn slant italics. Other design style variations include Swash as well as Ornamental Italic Capitals along with a few Ornamental Symbols to embellish and enhance the possibilities.

This font was inspired by one of a standard French manual styles in use from the beginning of 1900s to the end of World War II, when people were writing most often with pen holders and metal nibs. This typeface is easily legible as it was used for the lithographic printing of university textbooks. All lower cases from a to z and numerals from 0 to 9 are doubled by a slightly different one to allow a varying manual aspect in texts. We have added a lot of diacritic characters, covering West (including Celtic) and North European, Icelandic, Baltic, Eastern European and Turkish language. A few special glyphs allows to make final loops or underlining.

Acklebury is a chunky, reverse contrast, slab-serif typeface available in two styles. It has heaps of personality, plenty of open type features, and a whole host of special characters and dingbats. Although it's drawn from historical sources, Acklebury is not a straight revival, rather more of an homage to the many, varied, extended lining figures of the late 1800's. Acklebury celebrates the once labelled 'hideous' combination of wide rounded forms and hard slab serifs. Only using modern type technology to fix the spacing and kerning issues that would of been impossible with metal or wooden type. Acklebury is not a French Clarendon, neither is it really an Italienne... but it is phat, wide and hella funky.

Novecento Slab Rough adds a letterpress / analog effect to its Slab Serif parent. Each letter has a different pattern and gives you a truly realistic effect. Even accented variants of any base character are all different. This font has also a built-in feature that automatically displays a texture variant for the 2nd occurrence of a letter or a number when they appear close one to each other. For instance: AA OO TT ÜÜ. But also: AOA NON TXT etc. And don't forget alternate glyphs design such as N I J Q Y and all other features present in the Novecento mega family: 32 styles, 76 latin languages supported, 590 glyphs and 16 stylistic opentype features for advanced typography.