The Roundup family was inspired by fonts from the late 19th century, though it is not based on any one of them. Roundup-Caps was the first of the group to be constructed. It has two sets of upper-case letters that have minor differences. It has reverse contrast, that is, the verticals are thinner than the horizontals. Unlike most of the "Old-West" fonts with reverse contrast, the serifs are not square but have an odd, rounded shape. Roundup-Regular replaced the second set of caps with lower-case letters. A bold style strengthens the vertical elements so that it no longer has reverse contrast. Both the regular and bold styles have matching oblique styles. Finally, there is a hollow version with a shadow to the lower right. This shadowed style has had its inside taken out, creating RoundUp-ShadowInside. The spacing is the same as RoundUpShadowed so it can be layered over RoundUpShadowed to easily create two-colored lettering.

Rebekah Pro is a revival of ATF’s Piranesi family, the regular being designed by Willard Sniffin, and the remaining weights designed by Morris Fuller Benton. Tom Rickner first revived Benton’s Italic for use in his wedding invitations for his marriage to Rebekah Zapf in 2006. He completed the character set in 2009. Rebekah Pro captures the elegance and distinction of the original. Tom carefully studied samples from 1930s American Type Founders catalogues and created a digital version with meticulous care. While considered an informal script because its letterforms do not connect, Rebekah Pro has graceful strokes and a truly elegant appearance. Tom created a variety of typographic enhancements not found in the original Piranesi italic font. These OpenType typographic features offer a distinguishing touch to everything from invitations and announcements to greeting cards and advertisements. Rebekah Pro contains the Latin 1 character set and the following OpenType typographic features: Swashes, Small Capitals, Ligatures, Alternates, Oldstyle Figures, Proportional Lining Figures, Tabular Lining Figures and Ornaments.

The all-caps display face Sandwich was inspired by historic, hand lettered sans serif alphabets with slightly sloping terminals, as found in showcard lettering and on billboards. Besides a number of alternate glyphs located in the lowercase area of the font, the typeface features about forty 'ligatures'. These are not ligatures in the traditional sense of the word, but short two- or three-letter combinations — mostly prepositions, conjunctions, articles and so on — in different languages, which are positioned vertically, not horizontally. Since the number of such pre-fabricated ligatures in a font is limited and cannot possibly cover all the desired combinations, a special algorithm programmed into the OpenType font permits the user to compose any two- or three-letter words, provided no accented characters are used. This is why Sandwich includes five versions of each letter. Using the full possibilities offered by the OpenType format, the automatic vertical aligning of glyphs is based on a combination of optional ligatures, style sets, and modified kerning.

Introducing Gingersans, the typeface that's basically a font party in 12 different weights! Imagine a font that's not just a font but a personality chameleon, smoothly transitioning from easygoing and polite in the regular weights to downright wild and fun in the bolds. It's like having multiple distinct characters living in one seamless universe. The design? Oh, it's calligraphy meets sans serif – the rebel child of fonts. The curves are having a party of their own; they go wild on the Black, get too cute on the Hairline, and throw in some artsy politeness on the Regulars. It's a typographic adventure that keeps the vibe consistent, whether you're going Hairline, Regular or Black. And here's the best part – Gingersans is not just a font; it's a variable font too, with a weight axis to cater to your every design mood swing. Get ready to fall in love with the font that's as versatile as your ever-changing design whims! 🎉✨ #Gingersans #TypefaceMagic

The origin story of HANLEY FONT COLLECTION all starts with the Script. We were designing logos and kept feeling like we needed a different kind of script, vintage feeling but not dated, and not too baseball-y or too formal. We couldn’t find exactly what we were looking for, so we decided to create it ourselves. After that we realized what we really wanted was good wood block looking lettering especially with small caps. And the collection just grew from there - a tall slim style, a monoline version of the script and of course a good sans. We topped off the group with a large selection of catchwords and extras with plenty of swirls, swashes and frames. Hanley has just enough irregularity to the edges to impart a human feel, but it’s still clean. Super versatile, all the styles work well together and can look authentically vintage or modern and hand-crafted.

Lumios is a freehand casual marker script that was created using Pilot Sign Pen. It has both extended Latin and basic Cyrillic support that is enhanced with oodles of ligatures (latin as well as cyrillic) and alternates. As a compliment to the script I also created Lumios Design Elements font that can be useful in brand design, greeting cards design etc. Both fonts were carefully traced by hand and have clean edges, hence they are safe to use in all graphic design software (including but not limited to Adobe Suite, Silhouette and Cricut Design, Affinity Designer etc) as well as on websites. The script is fully unicode mapped. To use it in Silhouette and similar applications that do not support OpenType features (yet), you may need to use your default Mac/Windows software such as Font Book or Character Map to select alternates you need. Lumios Marker is a perfect companion to Lumios Typewriter, sharing the same soft curves and clean letter edges.

SoftMaker’s Cooper Black Pro is a friendly, chubby typefaces with rounded serifs and tilted back ovals. It is perfect whenever an informal, friendly character is desired in your designs. Oswald Cooper designed Cooper Black in 1919 for Barnhart Brothers & Spindler; later it was popularized by ATF. This release adds variations not present in the original design: In addition to a true italic and a condensed version, you can also experiment with a “poster” variant (tighter spacing, integral umlauts and accents) and a “stencil” variant. SoftMaker’s Cooper Black Pro typeface family contains OpenType layout tables for sophisticated typography. It also comes with a huge character set that covers not only Western European languages, but also includes Central European, Baltic, Croatian, Slovene, Romanian, and Turkish characters. Case-sensitive punctuation signs for all-caps titles are included as well as many fractions, an extensive set of ligatures, and separate sets of tabular and proportional digits.

KC Fonts would like to present its latest creation: Pewter. Pewter is a three weight font (including italics) with four grungy family members (also with italics) for a total of 14 OpenType/TrueType fonts. The Pewter family allows you to freely mix and match between the weights and the grunge variants as it’s not just the same erosion over and over. The Original Trio: Regular, Bold & Black - they're perfect for your more front page useage and anywhere you need a more traditional look. The Grunge Family: each is different from one another - there is Corroded for the caked on dirty look, Scuffed for a mild abrasion with a worn and washed feel, Stamped for printing press & your rubber stamp effect and Trashed for a destroyed (but not over the top) look to your work. It looks great in all cases: UPPERCASE, lowercase, Title Case & MiXeDcAsE, whether it’s printed LARGE or small it will look great!

Grace was designed by Elisabeth Megnet and appeared with Linotype in 1992. The font is a part of the package Calligraphy for Print, which also contains Ruling Script and Wiesbaden Swing. Calligraphy for Print 2 completes the set. These packages offer modern calligraphy fonts particularly well-suited to use in posters, magazines and advertisements. The basic style of Grace is based on the Gothic miniscule of the 13th century. It represents a modern philosophy held by Andre Guertler, Professor of Typography in Basel with whom Megnet once studied. With this philosophy, calligraphy is not to be seen as a decorative art, and fonts created according to this tenet have far fewer ornamental strokes. They are eccentric, drawn out and almost bulky. Like Gothic forms, one of the predecessors of this font, Grace gives vertical lines a particular emphasis. This font is not meant for long texts but makes a distinctive impression in shorter texts or headlines.

A neo-grotesk with a bit more bite, this is Schizotype Grotesk. It's not your usual grot; this is purely display typography. Notches cut deep into the letterforms and the thick/thin contrast isn't always where you might expect. It's intended to be a challenging typeface - not beautiful or particularly 'useful' in any conventional sense, but it is at the very least interesting. In a world where everyone and their dog has their own grotesk offering, perhaps being interesting and that little bit different is in itself enough to give the face its utility. Besides, beauty is in the eye of the beholder. What really matters is what you think! Schizotype Grotesk isn't bogged down with a million and one OpenType features you'll never use, but it does include proportional and tabular lining figures; automatic fractions; numerators and denominators; superscript and subscript numerals; case sensitive forms; and five stylistic sets that change [a], [g], [y], [IJ], and [@] respectively.

The infield dirt is raked, the outfield grass is mowed and the baselines chalked. So grab a beer, smother a stadium dog with mustard and relish, take a seat on the bleachers and get ready -- that handsome devil SPILLS is back on the mound and ready for a comeback! It’s true, Manager [the person who coaches a baseball team is a ‘manager’ not a coach] John JG Roshell has coaxed the wily veteran out of retirement, and he’s returned to the field with the wisdom of extra years and the addition of five new pitches (fonts): Stadium, Dugout, Outfield, Infield, Pennant and Base. The stadium is packed to capacity and we're pretty sure the first time he’s at the plate, it’s gonna be strike-out city! [to continue the logic of the baseball pitching ace as font metaphor, the pitcher would hopefully prevent a home run not facilitate one.] See the families related to Spills: SpillProof .

Octagon Calligraphy is calligraphy font with a classic style and a touch of elegance, inspired by the handwriting of women and ancient manuscripts. Carefully designed to work together in harmony that makes it very suitable for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires a classic, formal or luxurious. Try Octagon Calligraphy, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily. multilingual support and ligatures Your download will include OTF & TTF format files. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows): Do not forget to see, buy, like and share my other great products. And feel free if you have a question, please contact me : slexs515@gmail.com Thank you for purchases.!

Rapsed – Display Serif Font is a captivating work of typographic art that seamlessly merges the timeless grace of serifs with the contemporary edge of stencil-inspired elements and bold reversed contrast. It’s not just a font; it’s a visual narrative that demands attention and ignites curiosity. Imagine Rapsed as a rebellious poet among typefaces, infusing its letters with intrigue and a touch of avant-garde flair. Its unique stencil-inspired accents carve out an element of surprise, while the reversed contrast adds a modern twist. Choosing Rapsed is not merely a design decision; it’s a creative manifesto—an invitation to explore the uncharted territories of expressive typography. Visualize Rapsed on your posters, headlines, or branding materials. It’s the font that guarantees your message becomes a visual masterpiece, one that captures the essence of tradition and innovation in a harmonious dance. Rapsed is your creative accomplice, beckoning you to join the avant-garde and make a lasting impression that leaves audiences both intrigued and inspired.

As a practicing graphic designer there have been numerous occasions when I have needed a font that didn’t exist. More often than not the style I was looking for was described as an extra-condensed sans-serif with a contemporary look that was available in a variety of weights. Small caps would be useful, so would a range of numeral styles. And matching italics too, of course. The proportions would consider viewing on hand-held devices, cell phones, remote controllers. And not forgetting that the font would be used in situations which required stacking the lines close. So the overshoots needed to be eliminated – the exaggeration of extremities that are intended to avoid round characters appearing smaller than their more squarish counterparts, often colliding when linespacing is tight. As I refined the design, I tested it on several works-in-progress providing a valuable testing ground and proving popular with my clients.

Fun. Fun isn't it? But sometimes you can have too much fun, and things can get out of hand. Revla Sans is, in certain situations, too much fun. So, without further ado, let me introduce the straight man to Revla Sans's buffoon - Revla Sans Text. It represents a complete overhaul of Revla Sans. The bounciness has been removed and details reined in, all for the purpose of optimizing the fonts for use in longer runs of text. 'Text' is perhaps a strong word here; you're not going to be setting novels in this typeface. It still retains the charm of the original, and could well be used in display settings. Think of it like this - Revla Sans would be a great choice for the logo and branding of a board game, no? Revla Sans Text, then, would be good for setting the instructions, or body copy on the website. Revla Sans Text is not as feature-rich as Revla Sans, and is priced accordingly. Enjoy!

Chilead is reminiscent of the early days of magazine publishing. Its elegant curves, high contrast and all-round heartwarming feel are perfect for art projects and typography across all mediums. Chilead is a sans serif font that looks great in titles, when used in larger sizes – but is not out of the place in a text either, which makes it a perfect choice for artists and designers who pursue not only the aesthetic qualities of the font, but also its functionality. Originally designed in 2019 and fully updated and expanded in 2022, Chilead offers users a large set of ligatures (both standard and discretionary) and a number of alternative forms for letters (such as a, v, w, y, etc). Chilead comes equipped with 600+ glyphs, which covers most of Latin-based scripts. Carefully kerned, Chilead is ready to be used in any project that requires a typeface that combines unique and stylish letterforms with a modern feel.

Don Sans is a sturdy display sans which evokes the invironment of old-day industrialism, steamers, locomotives and other machinery; dusty back-yard workshops and the glamorous air of backstage life. It has been inspired by various letterings crafted by former graphic workmen who would have had an idea of simple letter construction but did not really wanted to bother with detail sophistication. Hence the result is somewhat quaint and imperfect … if that is something you are willing to enjoy. The unique charme of this typeface lies in its lack of perfection. And yet it embodies a peculiar straight-forward strength and sobriety, a visual stubbornness which is certainly not over-used! Utilize Don-Sans for stationary and ads, for crisp title settings and smart identity graphics; for menus and leaflets, business cards, cutting-edge campaign eye-catchers … whatever your imagination makes of it! Don Sans is a multilingual typeface, it supports every Euro-Latin language.

Spillsbury was inspired by some examples of 1920s signwriting (principally seen on the side of some vintage vans-good thing they were in a photograph and not on the move!). Spillsbury draws inspiration from these sources to provide a unique combination of legibility and flair, which echoes the charm of advertising and publicity material from the halcyon days of the 1920s. A basic range of four display faces os offered - Regular, Plain (not all that plain really!), Shaded and Shadowed. In a new departure for Greater Albion, three pairs of 'Duo' faces are also offered. These are designed to be used in pairs-and only sold on that basis for little more than the cost of a single face-to provide for two-coloured typographic design, enabling the recreation of those evokative two coloured blocked lettering styles that were used to such good effect in the past. Take a trip back to more colourful times today with Spillsbury!

Alien Alphabet is inspired by the ideas of change, transformation, creative deconstruction and mutual penetration of various cultures, languages, and opposing cognitive systems, which seem to be prevalent in our 'globalized' civilization. It appears as various visual constructs -- archetypal symbolism, pieces of the world alphabets, socio-cultural icons, mathematical formulae, etc., -- broke down into pieces and were reassembled in a way that carried traces of previous meanings. However, this contradictory mutation invokes enigmatic meanings and emotions begging for further definition and interpretation. Alien Alphabet shapes arranged in linear sequential manner tend to evoke a sense of written language. The fact that a message cannot be understood does not really change its emotional appeal. Moreover, the less message can be deciphered, the more seems to be the appeal -- for it triggers our imagination. In fact, we may not want to know the actual meaning because deep inside we are afraid that this might be just another alien dry-cleaning receipt.

Melina Plain and Melina Fancy are characterized by graceful lines, strong contrast and nostalgic overtones. These typefaces are patterned after two members of a type family named Greco, released by Fundición Tipográfica Richard Gans of Madrid, Spain, in the 1920s. Melina Plain is a refined version of Greco Bold, and Melina Fancy is based on Greco Adornado, with the notable addition of a lowercase, which was not a part of the original design. Melina is based on two typefaces (ca. 1920) from the Fundición Tipográfica Richard Gans in Madrid, Spain. Nick Curtis first found Greco Adornado in a type specimen at the Library of Congress. It was a cap only design. He made a cut of the original (Melina Fancy) and created his own lowercase, and many other characters to support contemporary character sets. Later he came across Greco Bold, which had a lowercase, but he chose not to use it and instead, adapted his Melina Fancy to create Melina Plain.

Show creativity and urban spirit with the Brong Geduny font, a display-themed masterpiece that presents a bubble graffiti style that is strong, bold, and fun. With uniqueness in every line, this font creates an unforgettable look for your design projects. Brong Geduny offers two complementary styles: regular for a bold look and outline for a lighter but still expressive touch. Its bubble graffiti style provides a touch that is so bold and vibrant, giving unmatched character to every word you write. This font not only provides a unique look but is also very functional. With multilingual support, Brong Geduny allows you to easily express your ideas and messages in multiple languages. Conquer your creativity with Brong Geduny, a font that will not only be the right choice for your design projects but will also be the talk of the online world. Immediately choose the appropriate style and create an extraordinary design with a truly urban touch!

Palatino Sans Informal was designed as part of a group of three font families: Palatino nova, Palatino Sans, and Palatino Sans Informal. Together these three families act as the fulfilment of Herman Zapf’s original Palatino idea. Palatino, which was born as a metal typeface in 1950, proved to be one of the 20th Century’s most popular designs. Not only is Palatino Sans Informal a completely new typeface, it is also a completely new interpretation of the entire sans serif genre. Its letterforms are curved, rounded, and soft, not hard and industrial. In comparison with Palatino Sans, Palatino Sans Informal offers eccentricities that are somewhat artistic and more individual looking. The fonts in the Palatino Sans Informal family include several OpenType features, such as an extended character set covering all Latin-based European languages, old style figures, small caps, fractions, ordinals, ligatures, alternates, and ornaments. Palatino Sans Informal can be mixed well with Palatino and Palatino Sans.

The Washington Lumut calligraphy is calligraphy font with a classic style and a touch of elegance, inspired by the handwriting of Italian women and ancient manuscripts. Carefully designed to work together in harmony that makes it very suitable for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires a classic, formal or luxurious. Try Washington Lumut Calligraphy, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily. multilingual support and special ligatures If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows): Do not forget to see, buy, like and share my other great products And feel free if you have a question, please contact me : zakicreative6@gmail.com Thank you for purchases.!

It shouldn't be a surprise to anyone that these letter shapes are familiar. They have the unmistakable color and weight of Cooper Black, Oswald Cooper's most famous typeface from 1921. What should be a surprise is that these letters are actually from George Auriol's Robur Noir (or Robur Black), published in France circa 1909 by the Peignot foundry as a bolder, solid counterpart to its popular Auriol typeface (1901). This face precedes Cooper Black by a dozen of years and a whole Great War. Cooper Black has always been a bit of a strange typographical apparition to anyone who tried to explain its original purpose, instant popularity in the 1920s, and major revival in the late 1960s. BB&S and Oswald Cooper PR aside, it is quite evident that the majority of Cooper Black's forms did not evolve from Cooper Old Style, as its originators claimed. And the claim that it collected various Art Nouveau elements is of course too ambiguous to be questioned. But when compared with Robur Noir, the "elements" in question can hardly be debated. The chronology of this "machine age" ad face in metal is amusing and stands as somewhat of a general index of post-Great War global industrial competition: - 1901: Peignot releases Auriol, based on the handwriting of George Auriol (the "quintessential Art Nouveau designer," according to Steven Heller and Louise Fili), and it becomes very popular. - 1909-1912: Peignot releases the Robur family of faces. The eight styles released are Robur Noir and its italic, a condensed version called Robur Noir Allongée (Elongated) and its italic, an outline version called Clair De Lune and its condensed/elongated, a lined/striped version called Robur Tigre, and its condensed/elongated counterpart. - 1914 to 1918: World War One uses up economies on both sides of the Atlantic, claims Georges Peignot with a bullet to the forehead, and non-war industry stalls for 4 years. - 1921: BB&S releases Cooper Black with a lot of hype to hungry publishing, manufacturing and advertising industries. - 1924: Robert Middleton releases Ludlow Black. - 1924: The Stevens Shanks foundry, the British successor to the Figgins legacy, releases its own exact copies of Robur Noir and Robur Noir Allongée, alongside a lined version called Royal Lining. - 1925: Oswald Cooper releases his Cooper Black Condensed, with similar math to Robur Noir Allongée (20% reduction in width and vectical stroke). - 1925: Monotype releases Frederick Goudy's Goudy Heavy, an "answer to Cooper Black". Type historians gravely note it as the "teacher steals from his student" scandal. Goudy Heavy Condensed follows a few years later. - 1928: Linotype releases Chauncey Griffith's Pabst Extra Bold. The condensed counterpart is released in 1931. When type production technologies changed and it was time to retool the old faces for the Typositor age, Cooper Black was a frontrunning candidate, while Robur Noir was all but erased from history. This was mostly due to its commercial revival by flourishing and media-driven music and advertising industries. By the late 1960s variations and spinoffs of Cooper Black were in every typesetting catalog. In the early- to mid-1970s, VGC, wanting to capitalize on the Art Nouveau onslaught, published an uncredited exact copy of Robur Black under the name Skylark. But that also went with the dust of history and PR when digital tech came around, and Cooper Black was once again a prime retooling candidate. The "old fellows stole all of our best ideas" indeed. So almost a hundred years after its initial fizz, Robur is here in digital form, to reclaim its rightful position as the inspiration for, and the best alternative to, Cooper Black. Given that its forms date back to the turn of the century, a time when foundry output had a closer relationship to calligraphic and humanist craft, its shapes are truer to brush strokes and much more idiosyncratic than Cooper Black in their totality's construct. Robur and Robur Italic come in all popular font formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages. A range of complementary f-ligatures and a few alternates letters are included within the fonts.

Menagerie is a dot script font containing some unusual glyphs.

Scriptonah-Pro now with Central European Diacritics and Improved kerning.

Nabuco is a simple and clean non-connecting script typeface.

Please note that this font has a limited character set.

Although Andi AW. Masry designed his Coomeec typeface with one eye on comic books, this is more than just another cartoon font. Even in our short profile of the font below, we're sure you'll find enough to be surprised by the calligraphic aesthetic and the wide range of potential uses of Coomeec. Typography had been one of Andy AW. Masry's hobbies before he turned professional in 2008 and formed his own agency in Jakarta in Indonesia. The former construction engineer had already spent many hours of his leisure time in following his pastimes of designing, photography and Latin typography. Fascinated by the close interaction between text and image in comic books, one of his first projects was the development of his font Coomeec™. The condensed letters of Coomeec seem to have more in common with a calligraphic brush typeface than a more conventional cartoon font. With the characteristic line forms of a brush font, the not unextensive variations in line thickness and numerous small embellishments to the glyphs, Coomeec can be used to enhance your projects with animated effects. You can achieve this not just in the larger font sizes; the font is also very legible in small sizes thanks to its large x-height. There are certain unusual letter forms, such as that of lowercase 'g', 's' and uppercase 'Y', that provide Coomeec with a touch of the exotic. As Coomeec has numerous character alternatives, you can use it not only to create diverse designs but also to ring the changes with the character of the text itself. There are variants for most lowercase letters, some of which exhibit only minor differences, such as the lack of a curlicue on the 'b', a modified downstroke on the 'h' and an elongated base for the 'k'. In the case of other letters, such as the 'q' and the 'r', there are significant disparities between variants. The uppercase characters are also available in a lively swash style with significantly extended terminals. Among the range of characters of Coomeec are oldstyle and lining figures designed for proportional and tabular setting. All alternatives are available in the form of the corresponding OpenType versions. Coomeec comes in two weights; Regular and Bold, each with its Italic version. The form of the slightly inclined Italic characters is identical to that of their upright counterparts with the exception of the lowercase 'f', which has an ascender in its Italic version. As an OpenType Pro font, the glyphs available for Coomeec ensure that it can be used to set not only western European but also central European texts. Coomeec is not just at home when used to set headlines. The excellent legibility of this individual and vibrant typeface means that it's also ideal for setting shorter texts. The various alternative letters provide the designer with the opportunity to vary the textual appearance, and to choose between creating a more formal or more light-hearted effect. Coomeec is not only available in an OpenType version but is also obtainable as a web font, so that you can employ its exotic features to good effect when creating internet pages.

Monogramma is a set of 676 beautiful and unique Monograms plus some doubles. There is one monogram for each possible letter-combination! For easy use I packed the monograms in 13 packets. One for two starting letter each. So if for example you look for the monogram "GW", you must choose the packet "Monogramma-GH" -- the G-combinations under the uppercase letters. You now have to type a capital "W" and Bingo you have the combination GW! Some letter-combinations have doubles, just check the numbers 0 to 9 if there is anything to be found. If you buy the whole set of monograms you get the basic font free of charge! Your long-distance (this was a lot of work) font-designer Gert Wiescher

Are you Troubled by Ghostly Voices in the night? Do you hear the Terrifying Tones of Demons and Ghouls in your Attic or Cellar? Have you or any of your family spoken with "Forked Tongue? Well, talk of the devil, Forked Tongue happens to be the latest offering brought to you buy our courteous and efficient staff this month (now on call twenty-four hours a day to serve all your supernatural lettering needs). If it Sounds Spooky, it most probably speaks with Forked Tongue. Oh, but if you really have got ghosts or poltergeists, well, um, we don't know who you gonna call. Features: Four weights (Regular, Italic, Bold & Bold Italic) with upper and lower case alphabets. Includes Western and Central European international characters.

With this charismatic new type system, the possibilities are as large as your vision behind them. Achieve the impact you're looking for by layering the different fonts and colorations for a custom, hand-drawn look that likes to be noticed. Play around with the potential. Create effects such as realistic 3D looks by adding centerlines, dotted centerlines, and shadow variations. Inspired by the affable look of vintage handmade signage, the Aviano Sans Layers spacing accommodates these shadows and other features well with its generous width and helps you hit your message home. Try mixing it with the other members of the Aviano Hyperfamily, too. There are lots of funky options for you to explore. See what you can create with Aviano Sans Layers!

Areno was our first ever font family, released in 2017. We’ve learned a lot since then and made the decision to redraw it from scratch with improved letterforms, better readability and added language support. Most adjustments are very subtle, but some glyphs have gotten a complete makeover. We've also added lowercase letters to the family. Areno is a strong and bold sports block font. These fonts are perfect for sports logos, branding, posters, apparel design, magazine headlines, labels and so much more. Areno now features a full Adobe Latin 1 Character Set with support for most Western European languages including Afrikaants, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish.

With Royale, Resistenza reinvented the bifurcated Tuscan genre in a contemporary, warm and playful form. Now our aim was to complete this decorative family with an italic version of the font. Rounded terminals, fabulous fancy fun spurs with elegant and extravagant flourishing - Royale italic comes in 8 weights which can also be layered to create polychromatic effects in another nod to the Victorian era these styles were popularised. While inspired by days gone past this Royale is far from a revival as unlike the classic Tuscans which inspired its structure Royale is monoline and sophisticated in its simplicity. Perfect for display and emphasis, Royale will command attention and leave a memorable impression wherever it is used. Check out also Royale

The font primarily had a strong body. Family has a four layered experience. All and in harmony. This font has a strong personality, that makes it perfect for use in headline sizes. Also use for print, motion graphics, logo design, packaging design, t-shirts and more. By using layers, you can design different colors and sizes by repositioning lights and shadows. This will allow you to take your designs to the next level. Using this unique font, you'll have a lot of fun and produce beautiful materials. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. There is nothing as satisfying as to do a good quality and properly job. You can enjoy using it.

Introducing our new release: Ohanlon. Ohanlon is a bold display sans with a subtle hint of reverse-contrast personality which will gives dramatic feel to your design. Packed with lots of stylistic alternate characters to let you play with various letter combinations. Go wild and experimental by combining the sans with the block or script-ish alternate letters to elevate your design game, or you can even go formal with the standard letters. Oh and also, the slanted/faux-italic version is available too. Suits best for logotype/branding, packaging design, and many other designs that need a direct punch to the face. Ohanlon is a versatile font, whether you'll go vintage or modern, this font will got your needs properly covered.

Naïve is a serif handwritten font designed by Fanny Coulez and Julien Saurin in Paris. Our goal was to draw a font with finely irregular lines that give a human and whimsical feeling. The three weights of this subtle Parisian hand-drawn font can be enhanced with two alternates fancy glyphs for each letter, the “Fantaisies”, to improve your designs and bring a more poetic and unusual feeling. We hope you will enjoy our work :) You could follow us on our Instagram: instagram.com/sc.type Merci beaucoup! Note: This font is part of our Naïve superfamily that contains lot of variations: Line, Inline, Serif, Sans Serif, and a special Art Deco one. Just click on our foundry name to see them all!

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Agilo Handwriting Pro is an upright, medium weight handwriting font with a simplified, slightly sloped print (non-connecting) style that mimics true handwriting closely. Use Agilo Handwriting Pro to create stunningly beautiful designs easily. This typeface comes with many pre-made ligatures and alternative characters for sophisticated typography – all easily accessible as OpenType features. A “random” feature even allows for automated random switching between variations of the same character, resulting in type that looks authentically handwritten.

Award winning 2017 font from Demark (Thailand) and G-Mark (Japan) in Graphic Design, MartiniThai Neue Slab is now available with better taste. Deltatype created a better version of MartiniThai Neue Slab V2: refined for better outline, we fine-tuned all outlines for better letterforms. Proportion were adjusted for better consistent. Metrics got new values for increased readability. Kerning, fine-tuned kerning pair for better spacing between the letters. MartiniThai Neue Slab V2 comes in six weights: Thin, Light, Regular, Bold, Extra Bold, Black. Thai Language is included in this package. MartiniThai Neue Slab is a unique slab serif in Thai Script that creates a sense of timeless and contemporary feel and is used by a media provider and nationwide in Thailand.