Based on the typeface Lunda originally made by Karl Erik Forsberg , (1914–1998) in 1941. The name Lunda was a tribute to Berlingska Stilgjuteriet in Lund, a Swedish type foundry (1837–1980) which supported him from the start. The design is close to the original but some significant details have been changed. Several signs are designed from scratch. An additional bold weight has been added.

BearerFond has been in my pen for years and I've used this way of writing a lot on cassette cases. Anyone still using cassettes? Me neither, so in order to keep it alive I have made a font out of it and named it bearerFond; as in bearer bond, since it looks like it could be used on official documents. Nothing too official though.

Released by the Compugraphic Corporation in 1979, the Garth Graphic font family is based on a design by John Matt from the 1960's, reworked by Renee LeWinter and Constance Blanchard. Garth Graphic was named after Bill Garth, a founder of Compugraphic. A fairly strong old style face suitable for text setting; the heavier weights and condensed forms are most used for display work.

Our Quintessential Pro is based on the calligraphic lettering style known as the Italic Hand. As speed became more essential in writing hands, styles became less formal and more relaxed. Classic, clean, and casual, Quintessential fits a lot of design uses - hence its name. The SmallCaps and extensive figure sets only work to further expand the usefulness of the typeface across a wider breadth of applications.

Codex was designed by Georg Trump and introduced by the font foundry C.E. Weber in 1954. Based on the German Gothic script of the 13th century, this font has the character of handwriting. Its capital letters are extremely big in comparison with the lower case, hence good for contrast in short text, however, this characteristic makes the font better suited to languages which use fewer capital letters.

It’s not often a vintage cartoon can inspire a type design, but such is the case when the name “Daffy Duck” is hand lettered on a mailbox in the 1946 Warner Brothers cartoon “The Great Piggy Bank Robbery” (famously being a send-up of the popular Dick Tracy comic strip by Chester Gould). Mail Route JNL is available in both regular and oblique versions.

Gibswing born based on the reference of old fancy lettering, vintage illustration, and victorian calligraphy. The Gibswing decorative style make it as an instant time machine to the era from 1800-1900 victorian visual style of the products, printed advertising, and signs back in the day. It will be a perfect companion of your classic visual direction for decorative sign, labels, branding, logotype, you name it.

Introducing vintage label font named Time To Play. This font has a wide languages support with west european and cyrillic characters (check out all available characters on previews). The font family has four styles: Base, Grunge, Volume and Texture. All styles have the same metrics and kerning. This font will look good on any vintage styled designs like a poster, T-shirt, label, logo, etc.

Glence family is a geometric sans-serif type family with 9 weights, from thin to black,with corresponding italics. Glence is designed based on geometric shapes that looks simple and clean. Each font includes opentype features such as Stylistic Alternates, Proportional Figures, Tabular Figures, Numerator, Superscript, Subscript, Case-Sensitive, Denominators, Scientific Inferiors, Ordinals, Ligatures and Fractions. Glence will make your artworks better with its simple & clean shapes.

This lettering style is unusual in that combines aspects of several lettering styles. It is essentially a Germanic Blackletter but with many romanized capital letters and also features an italic slant along with some italic lower case traits. It is evocative of “old world” craftsmanship and early 20th century romanticism. The font was developed based on the logo of the Lakin Company of Buffalo, NY circa 1900.

A collaboration based on lettering by Vermont illustrator/artist Mary Trafton and brought to typographic life by Charles Gibbons, the Full Moon Suite is a collection of casual typefaces called after folk names for full moons. A winner of the TDC2 2003 Type Design Competition. Family members include: Falling Leaves, Rustling Branches, Black Cherry, Black Cherry Alternate, Black Cherry Ligatures and Black Cherry Doubles.

A Bocadillo is a sandwich. I guess I was craving one when I had to name this font! Bocadillo is a sweet Brush script. It is all caps, but upper and lower case are different and like to mingle. It is an ideal font for product packaging, posters, book covers, postcards and big ‘I love you’ billboards. Comes with a generous helping of diacritics.

Little is known of the origin of these decorative Initial Caps. Series 448 at 24 point were a different design from the 36 point on which this digital version is based. In addition to the basic 26 characters, there is a negative version contained in the lower case position and a fill character (for two color caps) option in the number and punctuation key positions.

This picturesque, beautiful German Blackletter typeface was originally released by Benjamin Becker Succ, Frankfurt am Main, then named ?K�nstlergotisch?. Ralph M. Unger redesigned, digitally remastered and completed the font based on old catalogues/specimen. In honor of the famous Cranach family, German artists in medieval times, we renamed the font after them. The shadowed version was added for even more eye-catching purposes, e.g. in headlines.

The sheet music for the title song of the 1960 movie "Exodus" had the name hand lettered in a block stencil style with rounded corners and narrow "rails" [the breaks between the stencil parts]. Loosely based on this design and working from just the six letters of the title, Cartage Stencil JNL is available as a digital font in both regular and oblique versions.

Bouclé is a monoline decorative typeface family of three subfamilies—Plain, Round and Loopy. Plain and Round come in two weights—regular and bold. Bouclé Plain, as its name states, has minimal decorative features in comparison with Bouclé Round, and especially Bouclé Loopy. Thus, Bouclé Plain fonts could be better used for display text purposes. Round and Loopy fonts are reserved for highly decorative cases.

Originally presented as an alphabet suitable for movie title cards, this font is based on a 1920 work by showcard artist E. C. Matthews, and named after the eponymous 1940s radio show about a local saloon and its never-present owner. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Waterman is a display font, its form is based on the figure of a fluid, creating a texture of undulating forms, rhythmic and free to make reading a stream wave experience. Waterman comes in Regular and Bold. The letter shape was developed from the design of the letter "a" and “l” lower case. The curve model is related on a stylized form of a fluid wave.

SK Brushwood is an experimental geometric font based on chaotic lines. It is inspired by the Greek stone script, but nevertheless it is modern. The main component of the letter shape is straight and sloping lines ending in straight corners, which makes it look like brushwood. This is why the font gets its name. SK Brushwood is perfect for headlines, posters, print work, and the Internet.

Halley is a modern, funny and casual script with an irregular base line that gives it a unique and modern look. All the glyphs have been carefully painted giving the texts a wonderful flow. A fat and thin blow in this font impresses the harmony. Halley family pack comes in three styles: regular, italic and Shadow. Each font contains 746 “regular or irregular" glyphs, including up to seven alternatives in upper case and six in lower case, standard and discretionary ligatures for a genuine handwriting effect. It also includes a Central European language support with its corresponding alternative characters to have more options in those languages. We have added some useful ornaments that will serve for the most demanding design project! Halley looks good in children's books, fashion, magazines, restaurant menus, book covers, wedding invitations, greeting cards, logos, business cards and is perfect for use in designs based on ink or watercolor, and more

Fungis is a somewhat �brother� of Fungia. These two typefaces were conceived simultaneously as an experiment on designing typeface based on natural shapes. In both cases it was mushrooms. Of course the main theme of these typefaces is not mushrooms itself (it was just a start point) but the interaction between form and counterform. In spite of unquestioning individuality the font has some associations with wood typefaces from wild west, typefaces from circus posters of 19th century and even slight feeling of gothic. The font can be useful in different cases: posters, titles, book covers, billboards, street signs, magazine spreads and all situations that demand expressive typography.

TapedUp, Tinkerer, and Rumpled are based on the template I used for several letterbat fonts—fonts made of wrenches and bolts, hammers, or paper clips. TapedUp can be thought of as a font made from masking tape, and Rumpled is the same design but the tape pieces are wavy. Tinkerer is the same design but with elements that resemble what might happen if one constructed letters from Tinker Toys. All are caps only, but some of the shapes on the lower-case keys differ from the corresponding shapes on the upper-case keys. The Rumpled family has four members, the regular, an oblique, a shadowed, and an oblique shadowed.

Banco was the first typeface work of French designer Roger Excoffon and was released in 1952. The strong forms look as though they were rolled out of sheet metal and feature upright, tapering strokes. The slight slant, the varying heights of stroke ends, and the relationships between line and curve give Banco font its sense of liveliness and dynamism. Excoffon did not design a matching lower case alphabet for his capitals, but this was accomplished later by Phill Grimshaw, who also designed the light weight. He deliberately 'underdesigned' the lower case forms, producing a more reserved alphabet based on the design ideas of the original.

Gerücht Typeface is a family of digital fonts designed in 2019 by Gabriele Bellanca for Rumors Foundry in three different weights and their corresponding slanted versions. All rights reserved. Gerücht (in English rumor) is the name of the font-family: today the name of a font is part of the graphic design itself, unlike in the past, where it usually consisted of a simple retrospective description (such as in the case of Gothic Condensed No.2) of its characteristics. It's a "one-word advertising slogan", writes Tobias Frere-Jones, which serves to build an idea and a charm to associate with that type of character.

Shock and Awe is a family of two display typefaces drawn up from lettering that has been at the centre of major historical events. Enola Gay is based upon nose art from the B-29 Superfortress bomber that dropped the first atomic bomb, on the Japanese city of Hiroshima, in 1945. Tomahawk is based upon the fuselage lettering of the original (then) General Dynamics manufactured Tomahawk cruise missile. Tomahawk missiles were introduced into military service in the 1970s and have been deployed by US and UK 'coalition' forces in a number of conflicts, including both the 1991 Gulf War and the 2003 invasion of Iraq. Aesthetic production by Marcus McCallion.

Cadmus Pro is the newly remastered and greatly expanded version of a Jim Rimmer design based on a type originally done by hand lettering artist Robert Foster. Foster’s type, named Pericles, was published by ATF in the 1930s, and used in lettering magazines and advertising headings. The design is based closely on early inscriptional Greek. Cadmus Pro comes with over 1130 glyphs, covering pretty much all Latin languages (including Vietnamese) as well as Cyrillic, Greek and Hebrew. OpenType features include stylistic alternates, automatic fractions, ordinals, and small figure ranges for superiors and inferiors. Proceeds from this font will be put towards a variety of Canadian typography education causes.

A set of slab serif framed capitals is displayed in the 1906 edition of the Keystone Type Foundry specimen book as “John Alden Initials”. Digitally redrawn as Keyden Drop Caps JNL, regular and reverse versions are available in one font file. Upper case keys contain the regular version, lower case keys have the reverse version. Blanks frames for each are on the parenthesis keys. The font’s name is a hybrid of both ‘Keystone’ and ‘Alden’. These vintage letters can easily be used as drop caps, monogram initials or for short novelty titles or headlines. Choose from either regular or oblique for your next print project.

A 14-weight sans family based on the original British ‘M.O.T.’ (Ministry of Transport) alphabet. A capitals-only, single-weight design was drawn up around 1933 for use on Britain’s road network, and remained in use until Jock Kinnear and Margaret Calvert’s ‘Transport Alphabet’ was introduced for Britain's first motorway in 1958. The identity of the original designer is not preserved; however, Antony Froshaug in a 1963 ‘Design’ magazine article mentions Edward Johnston as an advisor. Speculation that it was based on Johnston’s London Transport alphabet is discussed in archived government documents from 1957: “So far as I am aware, the Ministry alphabet was not based on Johnston’s design; indeed, it has been suggested that Gill got his idea from Johnston. Our alphabet was based on advice from Hubert Llewellyn-Smith (then chairman of the British Institute of Industrial Art) and Mr. J. G. West, a senior architect of H. M. Office of Works.” A 1955-57 revision of the alphabet which polished the somewhat mechanical aspects of the original may be the work of stone carver and typographer David Kindersley. For the digitisation, Rian Hughes added an entirely new lower case, italics and a range of weights. The lower case mimics the forms of the capitals wherever possible, taking cues form Gill and Johnston for letters such as the a and g, with single-tier versions in the italic. A uniquely British font that is now available in a versatile family for modern use.

Caltic-Holiday, Caltic-Festival, and Caltic-Straight are three eye-catching, very bold typefaces that are suitable for posters and signage. Caltic-Holiday and Caltic-Festival base letter shapes on trapezoids with curved sides but with curves that are reversed going from one to the other. Caltic-Straight has letters based on trapezoids with straight sides. None are suited for text and with their built-in spacing will not work as all upper-case or all lower-case. All three come in two widths, regular and wide, giving the Caltic family six members. Caltic has nothing to do with Celts. The Calt refers to the calt or contextual alternative OpenType feature that makes this typeface work. When the letters on the upper-case keys alternate with the letters on the lower-case keys, they fit snuggly together. As long as the user has a word processor that supports the contextual alternatives feature, there is no need for the user to alternate letters; the calt feature does it automatically. Although the fonts seem similar to hand-drawn lettering that was done on posters and signs during the hippie era of the 1960s and 1970s, I can find nothing quite like them. My inspiration for them is older, in a newspaper from 1932 that led to the typeface family PoultySign. Caltic (and Lentzers) are the result of seeing what else I could do with the inspiration that sprang from that 1932 newspaper.

When there is no picture of a "most wanted" or "Missing Persons", photofit pictures are used. Once drawn by hand, they are now more and more substituted by photomontage. The personality is created with different modules like head, eyes, nose and mouth. The vague memory of a witness leads to the image of a "concrete" person. Sometimes different combinations of possible looks are attributed to a same person. This new virtual image finds itself soon in thousands of archives and data bases. Anyone can easily have access to those images by internet. To increase security and help track criminals, unknown death (Mr. Smith) or lost and kidnapped people, government asks citizen to help search those people. "Mr. J. Smith" is a font family consisting of 4 portrait-fonts and one letter-fonts. The portrait font "Mr. J. Smith" is a portrait-construction-kit. By layering the fonts "Head", "Eye", "Nose", "Mouth" one over the other, you can design over 7 million different faces. The font "Wanted" gives you the possibility to join names and registration numbers to the unknown or most wanted persons. What is nice about this font is the "surprise moment". Just write a word , "security" e.g., and you will get a nice shot of 8 different characters!

ManRay is a photogenic typefamily of 6 fonts designed by @andinistas, with more than 2600 glyphs distributed in 3 Scripts and 3 Caps. Its shapes are ideal for attention-grabbing and for its eloquent character set, each style is presented with three levels of erosion planned with meticulous dotted texture bézier drawing, diagonal texture, and vertical texture pattern. ManRay Script, Script2, Script3 is based on calligraphy made with a fine tip brush and therefore communicates pleasant and attractive ideas. Its capital letters measure three times the height of the lower case and stand out for its artistic curved lines ideal for writing on photos, logos, labels, packaging, posters, covers of food products, spirits, organic teas, etc. In that order, it also offers other expressive alternate letters that activate spontaneously, and each of the three styles is case-infinite with and without Swash, Stylistic, and Titling Alternates. ManRay Caps, Caps2, Caps3 are inspired by calligraphic Roman letters drawn with a brush with a square tip and are equipped with descending flourishes for word start and end. The core of ManRay mixes the ideas of Ed Benguiat and Ross F. George and its name is a tribute to the Dada hero who changed history a century ago by working against the conventions of art and photography.

Anadolu was inspired by the distinct style of sign lettering in rural Turkey, and refined based on sign lettering in Hungary. Shown here are samples in Turkish and Hungarian, as well as Finnish and Estonian, two other languages in the Finno-Ugric language group with Hungarian. The slight curve at the tops of ascenders and bottoms of descenders is inspired by the linguistic process of "vowel harmony" in Turkish and Hungarian. Anadolu is the Turkish name for Anatolia, the peninsula where Turkey lies. The name recalls another sans-serif typeface named for its country of origin. The tittle on the i is reimagined as a diacritic, and the dotless ı is reimagined as the basic, prototypical i. Too many typefaces treat diacritics as afterthoughts. Since diacritics are integral to the languages that inspired Anadolu, they were designed as core components of the typeface.

HS Alwafa is an Arabic display typeface. It is useful for book titles and creative graphic projects where a contemporary, streamlined look is desired for digital purposes. The font is based on the simple lines of sequre Kufi calligraphy, that support Arabic, Persian, Urdu and Kurdish. This font was created in the beginning as a digital weight in 2012 for use by an engineering digital company. The company tends to follow the geometrical united and equal shape in both vertical and horizontal dimensions and with a tendency for digital strokes showing digital numbers under the name of base. I followed that with three styles: first, the digital with a solid base, second is a stencil and the third is the regular solid font. By producing this font, we provided the Arabic fonts library with various styles which grant many design purposes.

The Sunshine Group is a series of four closely related fonts that combine a visual rendition of a bright noonday sun with Page No. 508, a wood type designed by William Hamilton Page of Norwich, Connecticut in 1887. Page No. 508 was released in a digital version by HiH and is available from Myfonts.com. Woody Sunshine is the simplest. The name alludes to its wood type roots. The sun shines on the upper case letters only (and the ampersand, which is considered lower case). Double Sunshine has the sun on both upper and lower case. Smiley Sunshine adds a smiley face to the first font. Double Smiley adds it to the second font. Warning: immoderate use of Double Smiley may expose the user to charges of overly aggressive cuteness. Please be careful. The Culture Vultures are lurking in the treetops.

Waite Park JNL is based on the smallest of the die-cut letters and numbers contained in the Webway Sign Cabinet - once manufactured by the Holes-Webway Company of Minneapolis, Minnesota. The largest of the set's sizes (2 inch) was the model for Sign Kit JNL, the medium size (1-1/8 inch) was used to make Sign Production JNL and this font is a version from the 3/4 inch size. Each size of alphabet and numerals have their own unique characteristics, although they all follow the same basic font style, which is reminiscent of classic Art Deco-era sanserif typefaces. The name Waite Park JNL was derived from a division of Holes-Webway that (for some reason lost to time) distributed their sign kits under the name Waite Park Sign Company, located in the Minnesota city of the same name.

Bambusa Pro is a sturdy expressive modern calligraphy family of 4 fonts: Regular, Bold, Basic and Ornaments. It owes its name to the bamboo pen that was used to draw all of the characters and swashes. The typical ink-strokes of the bamboo pen give Bambusa Pro a distinctively different appearance than dip pen calligraphy fonts like Salt & Spices Pro. Similarities between the two are a wide variety of long swashes that connect to the first and last letter of a sentence or name. But with Bambusa Pro this even goes for accented characters, and all upper and lower case letters. Together with five different connecting spaces you can create phrases that look as if the pen was never lifted from the paper. Like Stylist Pro all characters of Bambusa Pro connect to each other, both lower case and upper case letters and vice versa. Bambusa Pro Basic also is hand-lettered with a bamboo pen, but is a lot more straight forward. It combines beautifully with the connected styles Regular and Bold. On top of that Bambusa Pro Ornaments offers 100+ glyphs for additional designs possibilities. Enjoy! You will need an opentype savvy application to get the most out of Bambusa Pro.

Named for the Zulu traditional spear, Assegai evokes the long, slim outline of the weapon, and the strength of the Zulu warrior. The font combines the irregular shapes of tribal African art with the simple, clean elegance of contemporary design. It is especially useful for headings, subheading, for shorter passages and also works as a body font since it has both upper and lower case and is striking and readable.

Berlin Sans is based on a brilliant alphabet from the late ’20s, originally released by Bauer with the name Negro, the very first sans that Lucian Bernhard ever designed. Assisted by Matthew Butterick, David Berlow expanded this single font into a series of four weights, all complete with expert character sets, plus a dingbat font. Imaginative & little-known, it promises enticing opportunities to the adventurous typographer; FB 1994

Rogshine is a textured brush font, a contemporary approach to design, naturally handmade with irregular base lines. Suitable for use in title design like clothing, invitations, book titles, stationery designs, quotes, branding, logos, greeting cards, t-shirts, packaging designs, posters, and more. Rogshine includes a complete set of upper and lower case letters, as well as multi-language support, numbers, punctuation, binders. Thank you very much for watching and enjoying it!

Moby is based on a grid of squares and has four different variations – from sharp corners to rounded with two steps in between. The letter is playful despite its grid and has the most common punctuation marks making the moby usable in most western european languages ... and even usable for Icelandic texts. The letter is named after my dog, the cutest Barbet (French water dog) in the world.