Mahally, Some vintage fonts with regular & italic version both with creative and sense of art. Ready for your crafting material as wedding decorative, invitation card, greeting card, T-shirt design, some merchandise, or to make your Branding Product.

Westbrook JNL is a simple monoline all-caps font with a strong Art Deco feel. It's light, delicate appearance is great for announcements, ads and retro materials that wish to evoke the elegance of the 1930s and 1940s.

Print Marks JNL assembles more old print shop cuts into a varied assortment of embellishments, border elements, designs and printer's marks. Newly re-drawn from vintage source material, they will brighten text with their nostalgic and charming look.

Occasionally font projects are started, but then set aside for other designs and are subsequently forgotten for a while. Such is the case of More Deco Lettering JNL; a bold thick-and-thin sans modeled from vintage source material.

Here’s a classic face from Dutch master type designer Sjoerd H. de Roos. Use it where timeless elegance is the goal. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

A 1940s British music collection of classical music piano pieces entitled "The Great Masters Series" had its title hand-lettered in a free form, casual sans serif with a cartoon style. This is now available as Just Great JNL.

Hardinge is born from an original and blackletter style font. It has a classic, vintage-style which is perfect for logos, branding materials, t-shirts, prints, business cards, and every other design which needs a unique and striking typeface.

MONTELLS - Display Font will look gorgeous on all your designs, invitation, poster design, book design, branding materials, logo's and all project design other. MONTELLS - Display Font contains standard characters, character is Uppercase, Lowercase, numbers, punctuation, ligatures and international glyphs.

Simppeli is a simple-lined but rough font. As written text it gives an impression of drawn lines on cross-ruled paper. You can fill the entire text area: the space key gives an "empty" grid. You may have to change the settings of some text applications in order to eliminate the marginals and/ or the line spacing. Combining glyphs provides you with endless assortment of patterns for ornamental decoration, prints etc.

German type designer Martin Wunderlich created this sans FontFont in 1993. The family has 6 weights, ranging from Regular to Bold (including italics) and is ideally suited for editorial and publishing and logo, branding and creative industries. FF Wunderlich provides advanced typographical support with features such as ligatures, alternate characters, and case-sensitive forms. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Tassista means taxi in Italian. It suits this typeface well as the source of inspiration is the closing credits from the film Taxi driver, directed by Martin Scorsese in 1976. The typeface is designed to perform especially well in smaller sizes and makes it suitable for various credit copy, footnotes etcetera, nearly always presented in minor sizes. During the designs process it seemed more logical to make small caps instead of traditional lowercases.

Estricta font family has been designed for Graviton Font Foundry by Pablo Balcells in 2017. It is a sans serif typeface with a geometrical and mechanic appearence, its sharp, angular edges provide a strong and solid design. It has been conceived to be most suitable for short and middle length text blocks, as well as on all sized headlines. Estricta consists of 12 styles. Each containing small caps and glyph coverage for several languages.

Tactical is nothing more than a testosterone-laced typeface. Rigid, mechanical and unforgiving. Originally conceived in 2007 while I was working through the early sketches of Ginza, Tactical features hard 45-degree angles and the presence of a curve for curve’s sake is just not there. Complimenting the original is a Stencil variant (inspired by the military, marathon video game, explosion-influenced name) and matching Obliques—altogether creating a sharply coordinating family.

ITC Eastwood is the work of British designer Martin Archer and is named for Clint Eastwood. Archer was looking for a plain oldstyle typeface with open lower case forms and used Stempel Garamond as his starting point, although the result ended up well beyond its origins. In small point sizes the typeface looks interestingly rough while at display sizes it looks like a 16th century French typeface and its unique details come forward.

Binaria font family has been designed for Graviton Font Foundry by Pablo Balcells in 2018. It is a sans serif typeface with a mechanic appearence. Its squared, angular shapes provide a futuristic and robust design. It has been conceived to be most suitable for logos, headlines and display design pieces as well as short length text blocks. Binaria consists of 12 styles, each containing small caps and glyph coverage for several languages.

Rail grandeur precision & leverage Rail type family is a tough conveyance mechanism for large and lengthy information packages. It offers great reading comfort and avoids unnecessary friction. The precise construction of this slab serif signals greater legibility and capacity. Rail is designed to provide reading enjoyment. It’s suitable for complex typography projects like magazines and annual reports. The typeface’s x-height is approximately 68% of its capitals. The italics are constructed at a 11° angle.

Antique Slabserif JNL is a reinterpretation of Monotype's Modern Antique 26, released in 1909. The name of the typeface is an oxymoron because Modern conflicts with Antique. Despite many critics of the "mechanical" look of the font's design, it has developed a bit of charm with age and the passing of time. Available in both regular and oblique versions, Antique Slabserif JNL can be used as both a text and headline font.

Devil Inside is a spine-chilling display font that will send shivers down your spine. Designed in a large, bold font, this typeface demands attention and exudes an aura of darkness. Each letter is meticulously crafted with a square shape, high contrast, and haunting brush details, adding an eerie and sinister touch to the font. The large size of the letters enhances the font's ominous presence, making it impossible to ignore. The square shape of each letter adds a sense of rigidity and sharpness, while the high contrast brings an element of drama and intensity. These design choices contribute to the font's unsettling and sinister look, immersing the viewer into a world of darkness and fear. The brush details in Devil Inside give the font an organic and handcrafted appearance, as if it were inscribed with ancient symbols by a malevolent force. These haunting details add a sense of craftsmanship and enigma, creating an atmosphere of mystery and foreboding. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Devil Inside fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Esquina is a family of octagonal slab serif fonts. Designed for use in outdoor advertising, branding, packaging. Esquina is also ideal for sports related materials such as team logos, flyers, posters and more. Esquina contains Latin, Cyrillic and Greek glyphs.

Christmas Peachy is a charming and festive handwritten font adorned with delightful Christmas ornaments. Its elegant strokes and decorative accents bring a touch of holiday magic to your design projects, making it perfect for creating warm and inviting Christmas-themed materials.

Introducing Lacerika font family, a versatile and sleek sans serif font designed to elevate your projects, whether you're creating a stunning website, captivating app, eye-catching brochure, or unforgettable branding materials. Unlock the potential of your creativity with Lacerika today!

Abine - Display Script will look gorgeous on all your designs, invitation, poster design, book design, branding materials, logo's, t-shirt and all project design other. Abine - Display Script contains standard characters, Uppercase, Lowercase, Swashes, numbers, punctuation, ligatures and international glyphs

RODENTIA - Handwritten Brush Script Font will look gorgeous on all your designs, invitation, poster design, book design, branding materials, logo's, and all project design other. RODENTIA - Handwritten Font contains standard characters, Lowercase, alternates, Uppercase, numbers, punctuation, ligatures and international glyphs.

Stencilvania JNL is one of the growing number of stencil fonts based on original source material by Jeff Levine. In this case, a "solid letter" stencil from years ago was modified to give it the classic stencil look of broken lines.

Slimeha is a bold and modern handwritten font capable of taking any creation to the highest levels! Try it on advertisements, posters, branding materials, logos, etc. Slimeha is PUA encoded, which means you can access all glyphs and swashes with ease!

Ultima is a rounded geometric monoline typeface family, built in ten styles. The typeface is ideal for use in display sizes, though is quite legible in text. Ultima is released as OpenType single master with a Western CP1252 character set.

Speedball pen master Ross George presented this face as D-nib Display. Its wide stance and quaint attitude make for some unavoidable whimsy. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Here's an elegant addition to Argentina NF, carefully crafted after the pattern provided by master type designer Morris Fuller Benton in 1919. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Matching is a beautiful, casual script adds a custom and organic feel to any design you need! Use this font for: Branding, Invitations, Stationery, Logos, Print Materials, Watermark, Label, Wedding designs, Social media posts, Products, Desktop Programs, Canva , Websites and more.

Looking for a font that’ll make your branding radiate elegance? A versatile, modern, and happy font? Then we’ve got just the font for you! Enjoy Doodle-Handwritten Font Enjoy Doodle is a modern hand-crafted font that’ll make your audience swoon and enhance your branding projects, printed materials, and website design. Every stroke and curve was created to portray the essence of elegance and style. Go ahead and use it on your headings, promote your online sales, Instagram quotes, and even printed materials like business cards, t-shirts, or invitations. Features: Stylistic Set Ligatures Swashes PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Nathatype

North American version for teaching children’s first letterforms With dots and arrows these print script fonts have no ‘exit stroke’ found in the European version. An upright typeface family developed to meet the demand for letters to produce pupil material for handwriting as well as for reading. Upright letters with extended ascenders and descenders are ideal on screen. They facilitate word recognition. Teachers can print desk strips, charts of letter families and alphabet friezes, as well as consistent material across the curriculum. Together these typefaces provide a valuable resource for special needs teachers. Free to download resources How to access Stylistic Sets of alternative letters in these fonts

Historism Border 2D is a collection of ornaments organized into four font files. The ornaments can be divided into two groups: Friezes (borders) and Rapports (patterns). All the ornaments attribute to the period of Historicism, which prevailed in art in the middle of the 19th century. The ornaments are based on elements of architectural decorations of Lviv buildings in Ukraine. The author personally collected the material and embodied it in the font. This makes the font exclusive and unique among other digital collections of ornaments. These patterns are perfectly suited to be used in the design of invitations, diplomas, certificates or other printed materials in classic-style design.

Nylon is an interpretation of pre-16th century letterforms, in particular those found in mediaeval portraits at the National Gallery, London. The source material contains many unusual and manic shapes—it appears as if these classical forms have, over time, become perverted, almost demonic. Draylon is the more restrained counterpart to Nylon; it is based on letterforms found on 18th century ceramics—some 200 years after the source material of Nylon. Nylon and Draylon have been designed so that they can be mixed together with ease. Both typefaces have been drawn with a kind of crude digital awkwardness—acknowledging the tool of the present moment, the computer, in the design process.

Albertina was a typeface ahead of its time. It was in the early 1960s when designer Chris Brand, an accomplished calligrapher, aspired to draw a typeface based on the principles of calligraphy. Unfortunately, typesetting machines of that era put many restrictions on designers. Characters had to be drawn within a very coarse grid, which also defined their spacing. Technological limitations meant that italic designs often had to share the same character widths as the romans. Designers were forced to draw italic faces much wider and with more open spacing than what would be typical in calligraphic lettering or hand-set type. Not surprisingly, production of the first Albertina fonts went very slowly. Brand would submit his character drawings, and the Monotype Drawing Office would modify them to be compatible with the company's typesetting equipment. The new drawings would then be sent back to Brand for approval or rework. Most were reworked. The process took so long, in fact, that by the time the face was completed it was once again out of phase with the times: instead of being released as metal type for the Monotype composing machines it had been tailored for, Albertina debuted as phototype fonts for the Monophoto typesetter. The design's first use was for a catalog of the work of Stanley Morison, exhibited at the Albertina Library in Brussels in 1966. Sales of the design were not remarkable. With the advent of digital type technology, Albertina's story took a far happier turn. Frank E. Blokland, of the Dutch Type Library, used Brand's original, uncompromised drawings as the foundation of a digital revival. The Monophoto version had taken a considerable battering from the limitations of Monotype's unit system," recalls Blokland, "but there was no need for me to incorporate these restrictions in the digital version." With the full backing of Monotype and original designer Brand looking over Blokland's shoulder, a new design for Albertina emerged, displaying all the grace and verve of Brand's original drawings. The basic family drawn by Brand also grew into three weights, each with an italic complement and a suite of small caps and old style figures."

Songs of the early 1900s were anything but the status quo in topic or style. Excessively long titles, novelty tunes and "foreign themes" permeated the piles of sheet music in the local music shops. 1916's "Oh How She Could Yacki Hacki Wicki Wacki Woo (That's Love in Honolu)" covered a number of these quirks within one publication. This Hawaiian-tinged song evoked the mysterious ways of the South Seas islands, despite the abridging of Honolulu to "Honolu". Nonetheless, the hand lettered title of this particular piece of sheet music featured an Art Nouveau-influenced bold block letter with rounded corners. It's now available digitally as Smooth Sailing JNL, in both regular and oblique versions.

Falstaff first appeared with Monotype in 1931, an alphabet in the style of a wide, bold antiqua that was especially popular in the first third of the 19th century. Such typefaces distinguished themselves through their consistent basis in the transitional antiqua style. They are characterized by their extremely fine unflexed serifs with no curve connecting them to the thick strokes. The numerals with their generous curves and ball-like stroke endings and beginnings are particularly decorative. The vertical strokes are dominant and give lines of this typeface a column-like and therefore static look. Falstaff is today often used for book titling, especially for mystery novels. It is best used sparingly in middle and larger point sizes.

Introducing Nur Hidayah Arabic Calligraphic Font this is an Arabic display style font that weaves intellect with imagination in a harmonious flow of letterforms. Nur Hidayah Arabic Calligraphic Font demonstrates a mysterious beauty of Arabic typography which is found to be essential for narrative content titling. The font is also suitable for branding and visual advertising. in the Arabic Language, Nur Hidayah refers to the Holy Enlightment. It also indicates the person who’s allready get a clear bright enlightment in their spiritual journey. The font features a unique writing style with a solid geometric structure which suits titling and creative heading. Nur Hidayah Arabic Calligraphic Font consists of three (3) style; Regular, dotted and Bold.

You've searched for "Egyptian" but, thanks to a quirk of type jargon history, much of what you found is not what you had in mind for the voice of Thoth in your comic book, or the hints in your Mummy's Tomb game. And you don't want to fall back on You-Know-What. Fear not; now there's Walklike! Pyramids, reeds, the Eye of Horus, and other recognizable symbols inspire the letterforms of Walklike to create the feel of Ancient Egyptian hieroglyphs while remaining fully legible. The strokes are casual but careful, at home in ink or stone alike, and kept interesting and natural-looking automatically with ligatures and some contextual alternates. The air of ancient mystery is unmistakable!

This typeface was inspired strongly by one of Ernhardt Ratdolt’s (1442-1528?) many beautiful typefaces. Mr. Ratdolt was a printer from the city of Augsburg, who had also worked for several years as a printer in Venice. He made many advances in printing technique and technology, including the decorated title page. Early books have a mysterious rhythm to the appearance of the text, due to small variances in letters caused by casting irregularities and ink transfer from the press. This supposed defect, which is present in this typeface, gives a pleasing effect when compared to the sterile regularity of modern printing technology. This font has been released as version 2.0 with over two hundred additional characters and improved metrics.