Scriptissimo-Forte-Swirls is the bold version of Scriptissimo but with lots of swirls. Sometimes a job just calls for lots of embellishments, that's what this version is good for. Yours very swirly, Gert Wiescher.

Easter Meadow is a striking, bold display font. It can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out!

KampFriendship is a casual, informal typeface family with serifs. The circular letters have an odd triangular shape. Because it has no contrast in the strokes, it appears to be neat but somewhat peculiar hand lettering.

Bionic CIty is a bold and authentic slab serif font. It has a cool style and it will make any of your designs stand out. Use it for sports, racing design, or anything sports-related.

Floyal Rush is 100% handmade, it’s organic looking and super friendly in a funky wobbly way! Although inspired by grafitti, Floyal Rush has got this cartoon and whimsical vibe to it. I don’t know about using Flyal Rush for massive text, but I would suggest short words and shout-outs - but I dare you! Go ahead and challenge me! I have added 3 versions, which fit together: Solid, Shine and Regular.

PaperCutPeach is unique in that it is a paper cut font but also a SCRIPT FONT. With PaperCutPeach you can create extraordinary lettering that looks effortless, casual and handmade. Each and every glyph is based on a paper letter cut by hand with a pair of scissors by me in my studio. Ideal for packaging for organic products, illustrated goods, book covers, editorial illustrations and other freestyle projects.

Garstang Engraved is the latest in Greater Albion's series of ‘wood type’ inspired fonts. Garstang Engraved is a hand-cut Roman, suggesting the late Victorian era, but the type of thing that continued in use well into the twentieth century. If you want a title face that has versatility and suggests a past history, as well as the art of finely cut wood type, then this is it!

I have always wanted to create the world's biggest and heaviest font. I admit that I was visually inspired by contenders like Akimoto, Champ Ultra, Blackoak and Bloque. However, I not only wanted a real heavyweight, but a really good looking and readable font as well. Look out—Big Boy is here. This powerhouse can get the job done. Try it out and get the attention you deserve.

Matthew Carter has been refining his design for Alisal for so long, he says, that when he was asked to complete the design for the Monotype Library, it was almost as if he were doing a historical revival of his own typeface. The illusion even extended to changes in his work process: although he now does all his preliminary and final drawing on screen, the first trial renderings of Alisal were done as pencil renderings. Alisal is best classified as an Italian old style design. Originally created between the late 15th and mid-16th centuries in northern Italy, the true Italian old styles were some of the first roman types. They tend to be the most calligraphic of serifed faces, with the axis of their curved strokes inclined to the left, as if drawn with a flat-tipped pen or brush. These designs offer sturdy, free-flowing and heavily bracketed serifs, short descenders, and a modest contrast in stroke weight. Alisal has nearly all the classic Italian old style character traits, plus a few quirks of its own. It is calligraphic in nature, with more of a pen-drawn quality than faces like Palatino or Goudy Old Style. It is more rough-hewn than either Goudy's Kennerley or Benton's Cloister, and is generally heavier in weight than most of the other Italian old style designs. One place where Alisal makes a clean break with traditional old style designs is in the serifs. While sturdy and clearly reflecting pen-drawn strokes, Alisal's serifs have no bracketing and appear to be straight strokes crossing the main vertical. Like Caslon or Trajanus, Alisal is a handsome design when viewed as a block of copy. Ascenders are tall and elegant, and serve as a counterpoint to the robust strength of the rest of the design. Alisal is available as a small family of roman and bold with a complementary italic for the basic roman weight, providing all that is needed for the majority of text typography. Alisal is not as well-known as some of Carter's other typefaces, but this lovely and long-incubated design was certainly worth the wait.

The Bitstream version of Caslon 540 of the American Type Founders, 1902. Based on William Caslon I's first English Old Style typefaces of 1725. Caslon modeled his designs based on late 17th century Dutch types, but his artistic skills enabled him to improve those models, bringing a variety of forms and subtlety of details. Strokes in Caslon fonts are somewhat heavier than in earlier Old Style fonts, serifs are thicker and a bit stubby. Italic letters have uneven slope. A text set in Caslon looks legible and aesthetically appealing. Caslon is a favorite font of English printers for setting of classical literature. Cyrillic version was developed for ParaType in 2002 by Isay Slutsker and Manvel Shmavonyan.

Cajoun is a bold serif face from German designer Hans-Jürgen Ellenberger. The letters sit visually low on their baseline, in part due to their small x-height. Also, the curved portions of the letterforms have an old-style distribution of weight, which pulls the eye downward. This font has a contemporary feel, however, with crisp edges, and some pointy terminals. The typeface also contains old style figures. Cajoun is recommended for use in larger applications, where the eye can get a change to dance along its wide curves. Cajoun was designed in 2002, and is part of the Take Type 5 collection from Linotype GmbH."

Madigan Text is the text optimized version of the Madigan family. More solid, more robust, it repesents the more stabil version to the more delicate Contane family. Stronger hairlines, solid serifs, and slightly wider proportions make it appropriate for bold headlines, as well as for small text sizes. Madigan supports up to 80 languages and it’s OpenType format allows a wide range of typographic applications. 18 styles offer fine graduation of the weights. All weights contain small caps, ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternate characters.

Introducing Poespa Indah - Old Type, created by ikiiko. Poespa Indah was inspired by vintage store signs in the classic era of indonesia around the 60s. In particular, this typeface is designed to give a formal yet old style look. Poespa Indah has a sans serif typeface with bold to light contrast. This typeface is perfect for an formal layout, newspaper, magazine cover, and also good for vintage product, quotes, or simply as a stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Multilingual Support Works on PC & Mac Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

A single-weight display font, Steel Grrrder Nutjob is an industrial-style stencil with a nut device. It’s best used in short display settings or as an introductory drop cap to grab attention. The capital letters sport an open nut while the lowercase letters feature a solid nut. It’s not the most legible design, but if you’re after a robust display font with an element of nuts, this will do the job perfectly. The Steel Grrrrder extended family also includes a six-weight sans-serif with corresponding italics, a six-weight joining script and a display font, Groove - all designed to work with each other.

A revival of old hand painted sign in Old Jaffa, from the mid of 20th century.

Some old broken characters. It reminds me of old labels on walls, streets or on tanks.

Ingone is a slightly irregular sans-serif face. It was designed to complement PattyDay and HeyPumpkin, but can be used alone if you need an informal, friendly sans-serif font. It has only one weight, but the family includes a shadowed style. In 2018 the inside of the shadowed version was separated out and made a separate typeface. The letters have the shapes of the regular version but the spacing of the shadowed version and can be layered with the shadowed version to easily produce lettering with two colors.

This font was made while listening to The Cure, and taking a trip down memory lane. However, the particular song I had in mind naming the font after, was already taken. But perhaps you can figure out which song I had in mind?

Vocalist JNL is a bit of a novelty Art Deco typeface based on hand lettering from some 1940s sheet music. Using the classic "thick and thin" style of the day, a number of letters and numbers have wedges cut out of their designs.

This is a friendly display typeface with large ink inlets that make it look like the counters have been eaten away from the inside out by hydrochloric acid. It's legible at small sizes, but at large sizes the nice details make themselves apparent.

Contra Flare is the organic design of my Contra family of fonts. It has beautiful curved endings – not serifs – that make it look like it was made out of flowers leafs. But still the font has an elegant look to it. Enjoy!

Tough Cookie is a handmade font that looks like it has been cut out. It comes in three varieties that work together really well. Use it for your book covers and product packaging, or (if you’re a tough cookie) for your christmas cards…

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!

Double Porter - an elegant font collection. Double Porter includes following: • 6 fonts - a clean and textured version of each. • Ornaments • Catchwords • Ending swash ornaments for the script Double Porter is a clean cut script font with five strong sans fonts. All the fonts are designed to work nice together. Here’s a short introduction to the fonts: • Double Porter 1 -Clean connected script with Swash Alternates for caps and lowercase letters with ascender or descender. The Script also has Contextual Alternates that add variation & make the flow smooth. Contextual Alternates are automatically on. • Double Porter 2 -Wide Sans Serif font. • Double Porter 3 -Bold version of Double Porter 2 • Double Porter 4 -Semi condensed Sans Serif • Double Porter 5 -Condensed Bold Sans Serif • Double Porter 6 -Serif version of Double Porter 5 • Double Porter 7 -Set of 60 icons and ornaments • Double Porter 8 -Set of 68 Catchwords • Double Porter 9 -Set of 62 Ending Swashes and Strokes designed to go with Double Porter 1 - the script. In addition there is a “Printed” version of every Double Porter font. Printed versions are named Double Porter P x. Printed versions are exactly the same but the shapes have rugged outlines and a worn-out texture. Double Porter has wide language support including West European, Central European, Baltic, Turkish and Romanian character sets.

Looking for a way to add a touch of bold, retro charm to your designs that evoke the fun and creativity of the 70s, 80s, and 90s? Look no further than our collection of classic and modern fonts that are perfect for logos, posters, and all kinds of design projects, whether you're going for an old-school vibe or a fresh new twist on retro design. With our carefully curated selection of fonts, you'll have everything you need to create eye-catching and memorable designs that capture the essence of classic design from the past. Whether you're looking to add some vintage flair to a modern design, or you want to create a throwback look that's right at home in the 90s, our fonts are the perfect tool for the job. From bold, geometric designs that harken back to the 80s, to playful, colorful fonts that embody the fun-loving spirit of the 70s, our collection has something for everyone. And with our easy-to-use design tools and resources, you'll have everything you need to bring your creative vision to life in no time. So why wait? Start exploring our collection of classic and modern fonts today, and discover how easy it can be to create stunning logos, posters, and designs that are truly one-of-a-kind. Whether you're a seasoned designer or just starting out, our fonts are the perfect way to add a touch of old-school charm to any project.

Codec Pro is the newest incarnation of the Codec family, developed in 2017 by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli as a research on the subtleties and the variations on the theme of the geometric sans-serif design. The original typeface has been completely redesigned and expanded to feature a wide range of eleven weights, from the hairline thin to the bulky fat, while the character set has been extended to include not only latin, cyrillic and greek but also arabic, farsi and urdu scripts. A veritable swiss-knife for the designer, Codec Pro also includes a wide range of alternates and stylistic sets that cover all the subfamilies and the moods of the original type system. So while the standard set (Codec Cold) has terminals cut parallel or perpendicular to the baseline, emphasizing geometry for a more constructed look, stylistic set 4 (Codec Warm) uses open diagonal cuts and humanist shapes to give the typeface a gentler, warmer feeling. Set 3 (Codec Cold Logo) comes alive with funky ligatures, while Set 5 (Codec Warm Logo) stretches uppercase characters horizontally for a dynamic, unexpected effect

EraMax 123 is a multi-layered display geometric sans serif, meant to be set BIG, for large, colourful statements. It's the perfect face for packaging, posters & branding, where a strong, colourful voice is needed... Did I mention posters? The "Max" in EraMax comes from the ultra bold weight, but also, and mainly as a tip of the hat to Peter Max, the designer and artist, known for creating so many images which have come to be emblematic of the sixties and seventies. The bold gradient effects in some of his posters were the inspiration behind the dotted and striped layers. This font's vintage flavour truly stand out in a retro setting, but also has a modern flavour that lends it the flexibility to work well in a more contemporary context. This is the second of what is to be an extended family of typefaces based on the original hand painted signage found in the T. H. & B Railway station in Hamilton Ontario, a classic Art Moderne building, designed by the New York architectural firm of Fellheimer and Wagner for the Toronto Hamilton and Buffalo Railway line and completed in 1933.

PT Octava™ was designed at ParaType in 2001 by Vladimir Yefimov. The first (Cyrillic only) version named Scriptura Russica (1996) consisting of three styles (book, italic, bold) was commissioned by the Russian Bible Society. Lately the Latin letters and bold italic were added. Inspired by Lectura, 1969, by Dick Dooijes and Stone Print, 1991, by Sumner Stone. In spite of large x-height the typeface is both space saving and quite legible at small sizes. Expert fonts including small caps (book) and old style figures are available.

Alathena was inspired by the French art decade between art nouveau to art deco, comes with 2 style, Alternative swash and Modern deco, with some modified ligatures. Available with 6 Weights, Thin, Extra Light, Light, Regular, Bold, Extra Bold with support 75+ language (Latin Pro), and contains OpenType features. - Matching small caps for all weights. - Old Style Figure. - Full "f" Ligature set. - 20+ Optional (discretionary) ligatures. - Over 400+ Swash Characters. - Automatic Fractions. - Automatic Ordinals. - Extended language support for most Latin-based Western and Central European languages, including all the swash and alternate characters.

Evocative of paint on weathered wood, Nelson’s engraved capital letters are as rustic and confident as the Old West. Combine the engraved face with bold and rough versions to create handsome wordmarks, or use Nelson to captivate customers of food packaging, restaurant menus, and roadside attractions. See what’s included! Engraved • Ornaments • Rugged • Bold *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

I created CemeteryWalk in 2018 to illustrate a program for a local cemetery walk. CemeteryWalk places letters on pictures of gravestones. In 2022 I expanded the family by placing three different sets of letters on the gravestones. Each of the four different sets of letters on gravestones has two styles, one with black letters on white gravestones and the other with white letters on black markers (the bold style). The bold style can be placed beneath the plain style to add color or texture. All eight styles are caps only, with the lower-case letters having different shapes for the tombstones but the same letters as in the upper case. There is only one set of accented characters and it is where the upper-case letters are found. Each also has an alternate set of characters that are somewhat similar in appearance and it can be accessed using the OpenType feature of stylistic sets. A final typeface in the family is a picture font of items that may be found on old tombstones.

Oswald Cooper is best known for his emblematic Cooper Black™ typeface. Although he was responsible for several other fonts of roman design, Cooper never drew a sans serif typeface. But that didn’t stop George Ryan from creating one. Ryan saw a sans serif example of Cooper’s lettering in an old book and decided that it deserved to be made into a typeface. Ryan’s initial plan was to make a single-weight typeface that closely matched the slender and condensed proportions of the original lettering. While the resulting Oz Handicraft™ typeface proved to be very popular, Ryan was not satisfied with the limited offering. So, between other projects – and over many years – Ryan worked on expanding the design’s range. The completed family includes light, semi bold and bold weights to complement the original design, plus a matching suite of four “wide” designs, which are closer to normal proportions. Fonts of Oz Handicraft include a Pan-European character set that supports most Central European and many Eastern European languages.

Corton was inspired by the traditional lettering on a gravestone in an English village. While that might sound a rather solemn beginning, Corton has wonderfully lively air, with distinctive lively serifs and beautifully swashed downstrokes. Eight faces are offered: regular and titular each in three weights plus regular condensed. Between them they are ideal signage and display faces, merging 'olde-worlde' charm and fun character, but remaining clear and legible.

The idea about Phenotype was to achieve a unique visual effect by touching serifs. Characters form ligatures, but every combination looks different. Touching serifs form connecting character images, e.g. like logotypes on old refrigerators or oldtimer cars, something like the fonts of Leslie Carbarga. The design idea is based on monospaced and heavy serif fonts like Courier, Isonorm Memphis or Rockwell. However, obviously, Phenotype is not a monospaced typeface.

Artigo is an old style inspired typeface system for text. It was inspired by the handwriting aspect of the first roman types but it intends to be a contemporary interpretation. Its abilities are in small text with personality. The italics capture a lot of its dynamic feeling even more expressive on the display version that stands as the most handwritten one. It gives text a lot of personality and great readability.

Rum Sans is designed inside out based on modular counters. Rum Sans is a text & display family suitable for any purpose, any media, any size. A humanistic modular sans serif in five weights containing small caps, italic, swashes, alternative characters, old style, lining, tabular & proportional figures. Design date: 2001-2014 The complete family consists of Sans Serif & Serif in both sharp and soft version + the display fonts Rum Plakat & Rum Silhouette.

Introducing Northas the vintage stencil font inspired by the old-school signage and military design. This font has a bit condensed letterform that gives a strong look and dignified. Perfect for many themes such as sports, military, urban, wildlife, vintage, and more! Fonts featured : Uppercase Small caps Numbers Symbols & punctuation Accented characters Alternates Catchwords: in, out, the, with, de, of, at, and, etc. Thank you for your support and happy designing!

I wanted to do somewhat like Blackletter, but Blackletter is hard to read sometimes, so I tried to solve this problem and to do something unique. This font is able to be used with all European languages including ancient and reconstructed languages like Old Church Slavonic (it can be written by Cyrillic or Glagolitic script), Proto Slavic, Ancient Greek etc. It also includes IPA, so it can be used in education.

Inspired by Germany Type, Naveid comes with Old Style with different nuances. It was carefully designed to combine the cuppped serif on top and the tinny Subtle Flaring on the terminal, which makes this font look elegant. Naveid designed with low contrast, consists of 18 styles from thin to black with each matching italics, it makes this font not only great for Headlines, but also great for paragraph, text and printing.