Introducing Lubeck Display, new generation Typeface with 3 Weights. Lubeck Typeface created with the vision of to attract the audience to your brand . The finest details of this typeface are methodically and mathematically created. Lubeck is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, servers, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project. The Typeface includes Three Weights. Light, Regular and Medium Features: Numerals, extended punctuation & Basic Symbols(200+ Glyphs). Expert kerning and quality crafting. Uppercase Letters & Lowercase Letters.

Nearly 2 years in the making, LHF Black Rose Script is the perfect blend of hand-lettering and modern technology. This beautiful script is loaded with features, such as automatic ligatures, discretionary ligatures, bonus ending characters, swashes, and several alternates (302 glyphs to be exact). You receive 3 versatile fonts to match different moods: Regular, Block Shadow (placed under Regular), and an expertly-crafted Inked version which has been distressed to look like freshly inked lettering. One look at your designs and your clients will fall in love with Black Rose Script. And with so many carefully designed alternates to use, they'll probably think you hand-lettered it yourself!

Step back in time with Marion, the transitional serif typeface that exudes a nineteenth-century flair. With its classic structure reminiscent of Century Roman, Marion stands out with a stroke treatment that’s closer to the timeless elegance of Baskerville. The inspiration for Marion comes from a diverse array of old metal typefaces, resulting in a design that’s uniquely historic and fascinating. One of the most distinctive features of Marion is the hammer claw shape of the serifs, adding a touch of industrial charm and a smokestack vibe. The font is available in Regular, Italic, Bold, and Bold Italic, allowing for a range of possibilities when it comes to design. With old-style numerals and standard f-ligatures, Marion offers the perfect balance between historical design and modern-day functionality. Additionally, it includes some eccentric discretionary ligatures and chirpy swash letters, adding a whimsical touch to your graphic design projects. Take your design to the next level with Marion. Its historically inspired design and unique features are sure to add a touch of elegance and sophistication to any project, making it the perfect choice for designers looking to create something truly remarkable. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Sacnoth is a font inspired in the old knots celtic visual.

Nice for an authentic old fashioned flavor without being over-bearing.

a decorative caps font based in designs of old Speedball booklets

A typeface inspired by the old computer games of the 1980s.

inspired in classic wood type heritage fonts from old America's foundryes

Introducing "Citrus Shore," a cool and chic modern handwritten marker font that embodies a refreshing and vibrant aesthetic. With its lively brush strokes and contemporary style, Citrus Shore brings a burst of energy to any design project. Whether you're creating invitations, branding materials, or social media graphics, this font's playful and dynamic character adds a delightful touch of modernity. Its versatility and undeniable charm make Citrus Shore the perfect choice for those seeking a trendy and captivating typeface that leaves a lasting impression. With its expressive and authentic appeal, Citrus Shore ensures flawless communication across borders. Supporting a wide range of languages, from English to Spanish, French, and more, this font guarantees your message is effectively conveyed. What sets Citrus Shore apart is its inclusion of over 400 alternate letters and ligatures, offering endless creative possibilities for stunning and original typography. From captivating logos to distinctive headlines, this font breaks free from the ordinary, infusing your designs with a touch of individuality. If you end up publishing your designs on Instagram, tag me - @silverstagco and I will make sure to showcase your design and work to my audience as well! Citrus Shore - Playful Marker Font Includes: Over 400 ligatures and alternate letters Numerals & Punctuation Language Support Web Font Kit is included as well Detailed instructions on how to use alternates in most of the apps on your computer as well for Canva Happy creating everyone!

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

MARIAMNE is an original design by Alex Kaczun. It is an elegant, modern and traditional interpretation based on and modeled after his successful "Contax Pro" and "New Age Gothic" typeface series. As such, it has generous proportions with clean, crisp lines—ideally suited for easy reading and long lines of copy. Alex felt that the skeleton for "Contax" was perfectly suited to transform the design into a modern version of 'old-style', somewhat reminiscent of German Black Letter. Numerous modifications where made to the body proportions, stems and shapes. True 'old-style' serifs and unusual 'cross-strokes' where added for a touch of distinction. The 'cross-strokes' where added at exactly visual mid-point on the overall heights. This gives the typeface a romantic, female-like quality to the overall design. Strong, yet delicate. Visually stimulating in appearance and function. The result is a truly unique transitional and modern design. Unlike other typefaces, MARIAMNE incorporates uniform stems throughout the capitals, lower case and figures. This gives the design a uniform appearance in overall color and strength. There is a perfect visual balance between inter-letter spacing, stem weights and proportions. The accents are equally large, bold and command attention. This font includes a large 'Pro' character set, which supports most Central European and many Eastern European languages. As a result, the design is ideally suited for display copy as well as text composition. In the near future, Alex plans to expand the typeface series to include a light and heavy weight, along with true italics.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Marit Otto about C-Nation: The building typeface. Although the 70ties were very liberating and progressive, still girls played mainly with dolls and sweet things and boys with all kinds of challenging stuff. They did all sorts of basic scientific experiments in mini labs and of course built cool things with Meccano building sets. As a girl I was perfectly happy with the toys I had access to. But at the same time I was very curious about all the adventure toys and discoveries my brother did. It also made me wonder why the grown up people thought that our world could be separated so easily by separating our toys in pink and blue sections. At this day of age Meccano is probably hopelessly old fashioned and far to manual. Children of today are fed by fast images and cool animations on screen, they learn, play, communicate and relax in the same space, the digital space. The special feature of Meccano was that even though it was very basic there was the promise you could create anything. It might even contribute to a logical mind. The typeface I designed refers to the Meccano feel. It is a creative typeface. A bit masculine and bold looking perhaps but after the first impression a subtle and refined female touch is revealed. It has links to architecture and associations with metal constructions like ‘The Eiffel Tower’ and (old railway) bridges. I am convinced that we all think of that as very charming man-made objects.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Strong, hard lines inspired the name of this font, based on the "nuclear standard" set by the U.S. and the Soviets during the cold war.

Cartoonist JNL was modeled from a casual brush lettering style found in a catalog of lettering templates sold by the Wright-Regan Instrument Company (Wrico).

Since the 1800s, many patents were issued for methods to hold papers together. The two most popular and enduring tools still in use today are the stapler and the paper clip. In recent times a number of clips in novelty shapes have been available in just about every size, shape and color imaginable. Back in the beginning there were many variations as well, but the purpose of these design variants was to try and command the majority of sales in the fledgling market of bent wire clips by offering a unique and hopefully better product. Fastenating JNL contains twenty-five images based on those early clip designs as well as one classic paper fastener (on the Z and z keys). The standard gem clip has been the most enduring design and is well over one hundred years old.

Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and heavy angled serifs that influenced Benguiat and Goudy’s typefaces in the 70s - we also tried to add elegance and contrast by following another 19th century revival style: the Elzevir. This digital homage to victorian typography, aptly named after the algorist daughter of lord Byron, is developed in two optical sizes, both in a six weights range from extralight to extrabold. The text variant offers maximum readability thanks to the generous x-height and screen-friendly design, while the display variant excels in the sharp contrast and thin details needed for editorial and large-size titling use. The italics, strongly influenced by calligraphy, have been complemented with a display script family, including luscious swashes and connected lowercase letters, lovingly designed by Zetafont in-house calligrapher. All the thirty weights of Lovelace cover over 200 languages that use latin, cyrillic and greek alphabets, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms.

The Cabrito family is back again to make a statement. Released as a complement to the children's book, The Clothes Letters Wear, the original Cabrito is light-hearted, fun, and easy to read. Now, balancing this friendliness with a new elegance, Cabrito Contrast steps forward--a handsome typeface with an extra-sophisticated sensibility injected into the design. Still bright and playful in its Cabrito ancestry, this new Cabrito member approaches the field with a cleaner, more reductionist form, ensuring that its polished look retains the readability. Regular features and Italic forms of the 54 fonts include upright alternates, ligatures, and old figures. A range of weights include extended and condensed variants. To preview any of these interactive features, see the PDF manual. The family also includes language support for 72 Latin-based languages, and there are over 600 glyphs for further refining your work. Cabrito Contrast is best used for logos and packaging as well as flyers and websites, though its readability makes it a great option across a wide variety of works. In short, it’s well-designed just for you. Take a stroll with Cabrito Contrast, and see how much fun refinement can be. Along the way, take a look at a few other members of Cabrito, too and see how well the likes of Original, Inverto or Didone can pair with the new Contrast.

It's nice when a font provides old style figures, small caps and alternate letters. But what to do if my typesetting program doesn't support Open Type features? The solution may be old-fashioned, but it's effective: the variants are placed in separate font families: Standard, Old Style Figures (OSF), and Small Caps (SC). Any word processor can handle it. As a special feature, my OSF fonts also contain alternative letters such as a looped g or descenders in the italic f.

Spanish Main is a revival of an old MacKeller Smiths & Jordan font named Sloping Black. Like most foundries MacKeller Smiths & Jordan doesn't display all the letters of the fonts in their specimen books so it took a little more time to find the complete character set for this old beautiful classic font. New in this version is the addition of a Greek character set which is experimental as you normally don't see Old English style fonts include a Greek alphabet.

30 illustrations of flowers and leaves that can be used alone, in a row, or to make a pattern or border. This simple-to-use witty font is perfect to add some punch to your newsletters, invitations or scrapbooking projects. Outside the Line also has hand drawn alphabet fonts that work nicely with these illustrations.

Julia Child said, "I didn't start cooking until I was 32: up until then I just ate". Whether you cook or eat, design menus or place cards or cookbooks this set of 30 fresh Kitchen Doodle illustrations makes the job easier. Baking, cooking, mixing, chopping, grating, this little font has it all. Bon Appétit!

Brother Siam font, is a handwritten font with a professional signature style. equipped with 30 ligatures to add a natural impression. It is perfect for business cards, wedding invitations, fashion magazines, photography watermarks, logos, product packaging, branding projects, megazines, social media, weddings, or just to use to express the words over the background. regards

Roberta goes back to the old poster fonts of the 1930s. It is an excellent alternative and combination to fonts like Arnold Böcklin or Hobo. Ralph M. Unger redrew and digitized this font in 2003. His work is based on artwork taken from old font catalogs.

Please welcome, KEHLIN!, a time machine font for you to get back to those magnificent era for the sake of old retro and vintage stuff. An implementation from the old store sign and vintage advertising. Perfectly fit for your headline content, logo, branding, posters, anytime - anything, oldsport :)

Techno Retro JNL looks like a design straight out of the 1980s, but it actually appeared as hand lettering on a sheet music cover for the circa-1940s edition of the song "To You Sweetheart, Aloha", proving the old saying that "everything old is new again".

AZ Union font was inspired from an old vintage tin from the early 1900's This font utilizes an "old look" to the line work which is designed to have a "worn feel" to it. Ideal for use as headline or sub-head text in you design.

Moonbandit Font Foundry presents, Cafe Lumen. This elegant and unique typeface is inspired by the cool and relax atmosphere of an old vintage cafe luminated by an old dimmed lights and moon light. Cafe Lumen high contrast design fits well as a decorative and beautiful theme.

Vulpa is a charming serif family in regular, italic and bold, informed by the proportions of a personal favorite, Plantin. The quirky foxtail terminals (inspired in part by my script font, Gelato Script) can be seen across all three styles. These little details make the typeface very expressive at display sizes, but practically disappear at text sizes, making for a very versatile face. Across the three styles there are a number of useful OpenType features which make Vulpa capable of demanding typographic work, even though there are only three styles. Regular, italic and bold are all you really need anyway! The regular and bold weights both include small caps, and the italic features swash capitals for most letters. The italic also features quaint discretionary ligatures, and all styles include standard ligatures, automatic fractions, proportional and tabular, lining and oldstyle figures. If this isn't enough, the Vulpa family also includes Ornaments and Drop-Cap fonts. There is an ornament for A to B, a to b and 0 to 9. These have been carefully designed to match the feel of the text fonts, and many are influenced by ornaments and fleurons from the ATF 1912 Type Specimen book. The drop-caps have an engraved look, and two color versions can be made by overlaying upper and lower case. Despite the lack of weights compared to ‘workhorse’ faces, the charm and versatility of Vulpa make it a really useful typeface, that I hope you'll enjoy using as much as I enjoyed making.

ATF Alternate Gothic is a new, significant digital expansion of Morris Fuller Benton’s classic 1903 type design. Originally available in one bold weight, the metal typeface came in three slightly different widths for flexibility in copy-fitting layouts.  ATF Alternate Gothic has impact at any size. Its letterforms are instantly familiar: Benton’s original metal type family was used throughout the 20th century in newspapers, magazines, and advertising, providing “strong and effective display” in a compact space. Monotype issued its own metal version for machine typesetting, and Alternate Gothic likely served as inspiration for Linotype’s ubiquitous Trade Gothic® Bold and Bold Condensed. ATF Alternate Gothic expands on the characteristics that perhaps made Trade Gothic so popular, providing a wider range of weights and widths to address the needs of today’s designers and technologies. The space-saving clarity of ATF Alternate Gothic brings readability to the world of advertising typefaces. With its finely graded range of ten weights, with four widths of each weight (40 fonts total), this extensive type family can be used to pack a lot into a narrow space, and the range makes it easy to create variations of an advertisement or announcement for different formats and media. The tall x-height and narrow proportions, combined with a relatively low waist and springy, tension-filled forms, make ATF Alternate Gothic strong and effective in display. All ten weights have been carefully spaced for readability, caps and lowercase work well together, while attention-grabbing all-caps settings are clear and never crowded, no matter how narrow.

"Chubs," a typeface specifically designed for large display sizes, perfect for making a bold statement. Each letter in Chubs has been meticulously crafted to possess a thick and prominent appearance, ensuring that your designs leave a lasting impact on viewers. Chubs's distinctive weight and blackness make it an ideal choice for a wide range of applications, including posters, packaging, and logos. Whether you want to create eye-catching promotional materials or design a powerful brand identity, Chubs has got you covered. Within the Chubs typeface family, you'll find two distinct styles, each with its own personality and visual appeal. The first style, "Chubs Black," features letters with a captivating slit, reminiscent of a belly that overlaps. This distinctive groove adds an extra layer of visual interest and uniqueness to your designs. On the other hand, "Chubs Filled" offers a solid and plump appearance, without the characteristic slit. This style amplifies the chubby nature of the letters, resulting in a bold and impactful display. To further enhance your creative options, both styles within the Chubs family include an alternate character set featuring a wink shadow in every letter. These additional characters provide a touch of fanciness and playfulness, allowing you to experiment and add unique elements to your designs. Choose "Chubs" for your next big project, and witness the boldness and charm that sets your designs apart from the rest. Let Chubs bring your ideas to life and make a powerful visual statement that captures attention and leaves a lasting impression.