Distory Script Is a calligraphy Vintage script font that comes with beautiful alternate characters. copper plate mix calligraphy with handlettering style. Designed to convey stylish elegance. Pagoda attracts like a typeface that is smooth, clean, feminine, sensual, glamorous, simple and very easy to read. Distory Script comes with a Clean and Aged version, beautiful upper and lower case, binding and loved by many finishes. It has Multilingual support (Western European characters) and works with the following languages: English, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish. In my example I show how this script can be used. It's perfect for logos, wedding invitations, alcohol labels, romantic cards, and more. Thanks You.

Victory Script is the sixth font family created by American Graphic Designer Tom Nikosey. Tom specializes in Lettering, Typographic Design, Illustration for Branding and Trademarks. CozyFonts Foundry is Tom's intro into the world of font design. Aladdin Family is the first font, Skratchbook Family is the second & Noodlerz Family is the third, Toms Finger Family is the fourth, Posterface Family is the fifth & Introducing Victory Script Family as the sixth with 2 fonts: Victory Script & Victory Script Aged. Please visit www.TomNikosey.com or Google Tom Nikosey for more info on his illustrious career. CozyFonts is Tom's intro into the world of font design.

Future Bugler Upright is a non-slanted version of Future Bugler, a font based on the second logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore. This font can convey several perspectives or moods. It can suggest a space-age vision of the future, or an art-deco perspective of the future as in the movie Sky Captain and the World of Tomorrow. It also communicates the idea of high performance, or extreme sports, without the grunge. Digitized by John Bomparte.

Ok. Another font with cats in it. I asked my son, Sam (age 4), to draw some cats and I have to say: I'm very proud of what he created. The tiger I asked him for became a spinosaurus mom with her baby and I also got some happy hearts thrown in for good measure. The Cat's Whiskers is a very legible hand made font. Nice and loose, not too messy and with just a hint of childishness. Comes with a litter of diacritics. Oh… and a big thank you to Jakob from pizzadude.dk for suggesting I should post more pics of cats on FB - which eventually led to the name of this font.

Gilman Sans is the family member of Gilman, the serif that it was derived from. The idea for Gilman started simple enough, a serif typeface that works well for large amounts of text. However, after many struggles creating a quality typeface digitally, I decided to first draw the complete alphabet by hand on paper, and then trace that digitally. The result is a unique workhorse typeface with a subtle “human touch” that is very rare in this modern technological age. Gilman Sans has extensive language support and comes with many opentype features like true small caps, tabular lining figures, stylistic alternates, ligatures and more. Gilman Sans and Gilman are excellent compliments and work together harmoniously on the page.

BR Nebula is a geometric sans serif that builds on the foundations of early geometric designs such as Paul Renner’s Futura, and later works such as Avant Guarde. BR Nebula takes inspiration from these early explorations in sans serif design and re-imagines them for the modern age. Distinctive geometric letterforms have been refined and simplified with opened terminals to achieve a clear, legible and modern aesthetic. BR Nebula is available in 20 contemporary styles, with weights ranging from Hairline to Super. The fonts also provide advanced typographic support with OpenType features such as case sensitive forms, stylistic alternates, slashed zeros and multiple figure sets. Also containing advanced language support as standard. For custom enquiries please contact: mail@brinktype.com

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

Brittes is a fontface inspired in a formally English round hand, also called anglaise or Copperplate script. The calligraphy was the dominant style among 18th-century writing masters, whose copybooks were splendidly printed from models engraved on copper. In the mid-1800's, the Spencerian form of penmanship became a standard. An elegant handwriting was much prized. Today, in our computer age, a fine, beautiful, and legible handwriting brings a warm personal touch to your graphic design and visual communications projects. This font comes with three different kinds of capitals, regular and swashes to choose from, a full set of stylistic alternates, standard and discretional ligatures. Old style numerals ornaments and tails.

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

Potent, clean and classy. Meguro serif has a modern-styled boxy shape with small glyphic serifs emphasizing the edge of its vertical and horizontal strokes. Inspired by iconic fonts of the 1900s, Meguro serif incorporates the sophistication of the digital age to strike its own unique character. Its mono-line oriented, pointy serifs and very high X-height ensure that it is extremely legible and creates a strong impression. The Meguro serif font family is comprised of 10 styles with 5 different weights from light to black, along with matching italics offering possibilities for use in web, print, package and sign design, all with the goal of building an established look for brands in wide range of industries.

Named after the steadfast doctor from Albert Camus’ The Plague, Rieux is an even-tempered slab-serif that is confident without being cocky and approachable without being casual. The aesthetic of Rieux is inspired by the industrial age. While the design is not directly derived from typefaces of that era, the shapes of letter-forms are informed by images of over-sized steel machines and the monolithic brick buildings that housed them. Rieux is available in 5 weights and is ideal for uncatalogued, magazines, short publications and company collateral. In addition to supporting Western, Central and Eastern European languages, Rieux includes an array of OpenType features to provide a range of typographic options.

Future Bugler Soft is a soft version of Future Bugler, a font based on the second logo created by Harry Warren in early 1975 for his sixth grade class newsletter, The Broadwater Bugler, at Broadwater Academy in Exmore, Virginia, on Virginia’s Eastern Shore. This font can convey several perspectives or moods. It can suggest a space-age vision of the future, or an art-deco perspective of the future as in the movie “Sky Captain and the World of Tomorrow”. It also communicates the idea of high performance, or extreme sports, without the grunge. Also check out its siblings, the original Future Bugler, and Future Bugler Upright. Digitized by John Bomparte.

Although the early 1900s through the 1920s seemed to be the "Golden Age" of ridiculously long novelty song titles, it appears that even the decade of the 1940s had its fair share as well. Song Merchant JNL was modeled from the hand lettered [but exhausting] title of the sheet music for "Princess Poo-Poo-Ly Has Plenty Pa-Pa-Ya (and she Loves to Give it Away)". Despite the obvious double-entendre inferences of the title, the square block letters with rounded corners make for a useful headline font (even if the source material it was drawn from is quite forgettable). Available in regular and oblique versions.

Herculanum is a part of the 1990 program “Type before Gutenberg”, which included the work of twelve contemporary font designers and represented styles from across the ages. Herculanum is a work of Swiss typeface designer Adrian Frutiger. It takes its name from the city of Herculaneum, an ancient Roman resort town destroyed by volcanic pyroclastic flows from Mt Vesuvius in 79 AD (the same eruption that destroyed the nearby city of Pompeii). Herculaneum's ruins are located today in the commune of Ercolano, Campania, Italy. Ancient Roman writings of the 1st century influenced the font's design. Herculanum is distinguished by its broad characters with narrow strokes and its willful character.

MFC Nadall Medieval was originally designed by Bernard William "Berne" Nadall for Barnhardt Brothers & Spindler back in 1885 under the name "Faust Text" and later under the "Missal Text Series". While you could use its capitals to construct an initial monogram, this is not a monogram font, but instead a fully functional typeface for invitations and period lettering. This lettering style has been precisely recreated and expanded on to create a full typeface with a small collection of ligatures. Here's what's included with the MFC Nadall Medieval: - 397 glyphs in MFC Nadall Medieval - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the last graphics for a preview of the characters included) - Ornaments - two ornament glyphs. - Ligatures - for ff, fi, fl, ffi, and ffl combinations.

The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S™ , which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG’s DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years. After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype’s Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text.

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

British designer Bob Newman's Horatio family is a delightful look back into the modernists experiments of the 1920s. This geometric sans serif design was created in 1971, and was originally released by Letraset. We are please to offer the family in digital form, in light, medium, and bold weights. Many designers during the 1920s were interested in reforming the alphabet, and wanted to reconcile letterforms with the machine and manufacturing technology of the age. Herbert Bayer at the Bauhaus was one of many designers who developed a universal alphabet," creating letters using only the simplest of geometric forms. Similar experiments in 1920s-style revivals were also created during the 1970s, most notably Herb Lubalin's ITC Avant Garde Gothic."

“Growing up in Iceland, I was exposed to Scandinavian modernism from an early age. My parents had Arne Jacobsen furniture around the house and I was always enticed by the fun shapes and colors...."—SK Armchair Modern is derived from the logo created for Armchair Media Group by Stefan Kjartansson. The design is unabashedly ultra-modern, reminiscent of work by Mark Newson and the aforementioned Jacobsen. Armchair Media is a consulting company, working with clients from the Web and interactive TV, so the super-elliptical letterforms are also intended to evoke a traditional TV screen or CRT display. The complete family of five weights was co-produced by PSY/OPS in 2001.

Shinano is an old province of Japan. Kobayashi Issa (1763 - 1828), a famous Japanese Haiku poet and Buddhist priest, was born here. Together with Bashō he is my favourite Haiku poet. Shinano font was hand made using a Japanese brush pen. At first glance it may look like a messy script, but underneath its rough appearance beats a poetic heart. Comes with some alternates and ligatures and a whole lot of diacritics.

Gaudeamus is a Cyrillic face of medieval Gothic textura inspired of incunabulum artworks. Recommended for a historical and cultural context, but it goes well beyond. Suitable for music, books, fashion, catering, packaging and more. Works for long paragraphs and short sentences. Features: — 7 Stylistic sets; two of which are text preformats to the commons of the Middle Ages and Early Modern historical periods. — Sets of Ordinal and Superscript characters for French, Portuguese, Spanish typesetting. — Localized letterforms for Bulgarian and Serbian. — Localized diacritics for Polish and Romanian. — Support typesetting in Russian pre-reform orthography. — Support typesetting in Middle English orthography. — Case sensitive characters for greater consistency with uppercase letters. — Set of Roman Numerals. — Standard and Discretional ligatures. — 530 glyphs; 40 languages support.

Rusticana is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. Rusticana was designed by Adrian Frutiger and appeared with Linotype in 1993. Its historical roots go back to the Roman Capitalis, the all caps engraved writing of ancient Rome which reached its peak in the first century. From this style evolved other Roman forms, and one, Rustica, proved particularly good for text on bronze, as opposed to in stone. The Rusticana of Frutiger has open, seemingly irregular forms which lend a distinctive rhythm to text.

It seems that after the 1960s, very few display typefaces were being produced that had the desirability to transcend generations, as did many type designs of the past. In 1970, a local television station embraced a lettering style for its logo that was a cross between round point pen nib lettering and the modular, techno look complete with squared characters in a futuristic "space age" style. News Crew JNL was inspired by the few examples found of this particular font [in use by the station at the time] and was pretty much created from scratch in order to capture the 1970s era of experimental typography. It is available in both regular and oblique versions.

Grimoire on the other hand combines two seemingly contradicting principles — calligraphic and constructive ideas — and makes them work together. The font is based on a modular system but simulates a handwritten typeface. Felix Braden about this concept: "I was so fascinated by this idea, that I have since designed a couple of typefaces following this principle, e.g. the psychedelic Bikini released by Volcanotype. Even my recent work, the multi awarded FF Scuba is inspired by this concept, however with increasing age I have become less interested in experimental typography and more so in designing typefaces which are more versatile in use." For a detailed type specimen have a look at: http://on.be.net/17WyhE6

The name Saluzzo is given to this font in honor of Giambattista Bodoni (1740–1813). Bodoni was born in the town of Saluzzo, Cuneo, Italy, and died at the age of 30. Saluzzo is a contemporary interpretation of Bodoni, retaining its elegant thin serifs and contrasted with heavy downstrokes. What makes Saluzzo unique is that it was approached from a calligraphic point of view. Also unique in this interpretation is the fact that it is a stencil. Saluzzo is a great choice when you need a font that is contemporary, timeless, and distinctive. Perfect for Advertising, Corporate identities and Packaging design, Fashion, Technology, Hospitality, Travel, and Retail applications. Saluzzo Regular Opentype is a Stencil font that is Contemporary, Distinctive, and Timeless.

Attention Space Rangers -- the Race into Space is on again! Science Fiction long ago became Science Fact and scientists are looking Beyond Earth, Beyond the Moon to Mars, Infinity -- and BEYOND! Comicraft’s Ace Rocket Scientist and Secret Weapon, John “Buzz” Roshell has spent years in our Underground Laboratory developing Accelerated Font Technology for the Space Age in which we live. SPACE RACE has curved contours and a sleek fuselage that will ensure our Rangers will be the FIRST WOMEN (and MEN) on planets in this Solar System and those of other stars! Now available for less than the cost of powdered astronaut ice cream. Space Race has been expanded into Hyperspace Race, a forty-weight family with a variable font.

After inventing a new metal typecasting procedure that allowed for the production of more detailed typefaces, the famous German typefoundry D. Stempel AG developed Kuenstler Script in 1902 - 1903. Originally called Kunstlerschreibschrift (artistic handwriting), this design was based on English copperplate script styles from the late 1800s. In 1957, Hans Bohn added the heavy Kuenstler Script Black weight to the family. Like intricate handwriting put to paper with a feather and an inkwell, Kuenstler Script makes almost any text look distinguished and elegant. Kuenstler Script is a joining script; and because of its fine hairlines and small x-height, it is best used at sizes above 12 pt. The typeface works well in advertising work and on invitations, greetings cards, business cards, and certificates.

Sistina, designed by Hermann Zapf in 1950 was first named Aurelia Titling. It is a heavy supplement to the Michelangelo Titling based on studies of inscriptions in Rome. First release in hotmetal at D. Stempel AG, Frankfurt in 1951. Sistina was originally an all caps font. The digital version from Linotype contains small caps. Hermann Zapf together with Akira Kobayashi, type director from Linotype had made a new revised version of Sistina now named as Palatino Imperial" in the Palatino nova type family, a Platinum Collection product from Linotype."

Amoresa script was handwritten under inspiration of traditional calligraphy and the wonderful mystic soundtrack of Wojciech Kilar. This font comes with a clean and aged version, beautiful uppercase and lowercase alternates, ligatures and end-swashes. You can easy get alternate characters just by adding number 2, 3, or 4 after any uppercase. Each of them has from one to four stylistic alternates. Lowercase has alternates too. Aurora has eight lengths of end-swashes. Just add underscore and a number from 1 to 8 after any letter at the end of the word ( _1 _2 _3 ... _8). Amoresa has multi-lingual support (Western European characters) for the following languages: English, Danish, Dutch, Estonian, Faroese, Filipino, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish. In my examples I show how this script can be used. It's very well suited for logotypes, wedding invitations, alcohol labels, romantic cards and others. Recommended to use in Adobe Illustrator or Photoshop. The special features don't work in Microsoft Word.

If you're getting tired of using Broadway, here’s an exciting alternative in regular and bold weights. Douglas C. McMurtrie, Aaron Borad, and Leslie Sprunger began designing this high-contrast novelty face for the Ludlow Foundry in 1928. It retains the classic style of the Jazz Age with a bit more individuality and spirit than Broadway. This extreme thick and thin design also sports normal descenders instead of the clipped ones found on Broadway. Ultramodern Classic is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Sabatons is a sans and script font duo. The vintage feel is really perfect for you who needs a typeface for logotype, apparel, branding, packaging, advertising and more. The regular version will give you the clean and solid feel. The rough version will give you the vintage and aged feel. This typeface comes in uppercase, lowercase, punctuations, symbols & numerals, a bunch of alternates, ligatures, etc also support multilingual and already PUA encoded. Also with stamp version that will make the fonts more vintage! How to access opentype feature : http://letterhend.com/tutorials/using-opentype-feature-in-any-software/ We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send us a PM or email us at www.letterhend.com

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

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

Camden is based on the types used in Camden's 'Remaines concerning Britaine' published in London in 1638. The object was to avoid the contradiction inherent in most 'distressed' typefaces made to give the effect of the imperfections in old print. This means that apparently worn characters are perfectly repeated throughout a setting. The makeup of the Camden fonts means that, with a little extra keying time, alternate characters may be brought in which overcome this. Also many characters are provided which have 'period identities' such as the long s with ligatures, tied sorts ct, sp and st, swash characters in the italic and the double vv, all of which can add a specific age identity.

Btoxina is a free interpretation of the theme pixel font. With its technological feeling, it reflects the spirit of our age. By designing the font Filippo Salmina, the author, has been inspired by the signage used in starships. Btoxina is grid-based but it differs from classical screen fonts by the use of diagonal lines. It is characterized by the renouncement of the use of capital letters in favor of using negative letters and by the automatic generation of ligatures. The typeface is available in two different styles: Atoxina (regular) and Btoxina (italic). Btoxina is especially suited for headlines in cool or experimental typography; be careful though, this font is toxic, we deny any responsibility for its use!

A “latin” alphabet modelled on the ethiopian Ge'ez script - an experiment that works. Amhara was created by transferring the typical forms of the Ethiopian Amharic script to the west European alphabet. Because Amharic is traditionally written with an expanded pen tip, it shows the typical ductus also characteristic of the uncial scripts of late antiquity and the early Middle Ages. So this font »Amhara« has a somewhat sacramental effect. And, although the individual forms look foreign, the overall picture is strangely familiar. The two styles of »Amhara« include a number of ligatures which dispose of many non-attractive letter combinations. Stylistic alternates are available for some letters, too. Read more about this font at ingoFonts...

Gelato Fresco represents a coming-of-age of a script font that started life in 2011 as the popular Gelato Script. In 2018, Gelato Luxe sought to improve on Gelato Script, and now, with the addition of extra weights for the first time, Gelato Fresco takes the baton. What was always a typographically sophisticated and versatile font, has reached new levels of usability as it becomes a family. In its previous incarnations, the typeface has graced everything from designer handbags to prime-time TV shows; food blogs to wedding invitations; glossy magazines to (not so imaginatively!) ice cream shops. I can't wait to see what this even more versatile version gets used for.

In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe. Upscale and stylish, Didot Headline is an essential tool for any designer involved in magazines, books, tasteful music, or overall luxury packaging that requires clean and large classic typography with an unmistakable modern spin. We recommend the use of Didot Headline between 12 and 48 points. For larger display use, check out its sister family, Didot Display.

Proto-Sinaitic (also referred to as Proto-Canaanite when found in Canaan, or Early Alphabetic) is found in a small corpus of c. 40 inscriptions and fragments, the vast majority from Serabit el-Khadim in the Sinai Peninsula, dating to the Middle Bronze Age. They are considered the earliest trace of alphabetic writing and the common ancestor of both the Ancient South Arabian script and the Phoenician alphabet, which led to many modern alphabets including the Greek alphabet. According to common theory, Canaanites or Hyksos who spoke a Canaanite language repurposed Egyptian hieroglyphs to construct a different script. The earliest Proto-Sinaitic inscriptions are mostly dated to between the mid-19th (early date) and the mid-16th (late date) century BC.

In spite of its name, this font family embodies the ultimate classic modern advertising typeface, rather than concern itself with revivalism or Didone authenticity. Naturally the spirit of the original Didot faces still exists in this family, but over twelve years of work on it have made it more fitting to the luxurious expression of our day and age, rather than nineteenth century Europe. Upscale and stylish, Didot Display is an essential tool for any designer involved in magazines, books, tasteful music, or overall luxury packaging that requires clean and large classic typography with an unmistakable modern spin. We recommend the use of Didot Display at 48 points and over. For 12-48 pt. use, check out its sister family, Didot Headline.