Heavy techno music, a personal computer, a font creation program and some inspiration had been the sources to the Face 2 Face font series. Alessio Leonardi and his friends had the demand to create new unusual faces that should be used in the leading german techno magazine Frontpage". Even typeset in 6 point to nearly unreadability it was a pleasure for the kids to read and decrypt the messages. The Provinciali letters look like they would be reversed in the spotlight."

Mourghan is a Modern Retrotype with various alternates and ligatures, an updated blend of bohemian style. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

Forseti is a Modern Serif with various alternates and ligatures, an updated blend of bohemian style. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

STRANO Like the name indicates it’s a strange typeface. Just capitals (including punctuation marks and numbers), composed from early sketches for a corporate identity in 2005 by André Toet. The complete font was restyled and translated to a Monospaced version. It’s a quite versatile font: it can be used in a lot of different cases, not only in print but also in architecture and street furniture. Think about lettering on benches, bridges, buildings. Concept/Art Direction/Design: André Toet © 2017

Feltboard JNL was drawn from images of letters and numbers contained in a felt board (also known as a flannel board) sign kit from the 1940s or 1950s. The irregularity of stroke widths and character shapes is representative of the actual shapes of the die-cut pieces found within this kit. Note: The cap height is slightly smaller than normal for the respective point size. This will give the effect of wider line spacing - similar to that of hand-made signs.

Cargiona is a very nice font with a soft and confident impression, modern with a clean touch. Cargiona family includes both lowercase and uppercase letters with 7 choices of font thickness from the lightest weights to black weight. Cargiona suitable for large amounts of text to the heaviest weights, intended for headlines. With weights ranging from light to black, there are a variety of applications that the fonts can be used for print, web, branding, logo, advertising, magazines, products, packaging, labels, etc.

Introducing the Love Shine. made with love design harmony in every single character. love Shine and a touch of the extras makes this font look great and stylist. Plus the OpenType features that allows you to mix and match pairs of letters to fit your design. and last the beautiful all will make you work easily to create : Badges, lable, greeting card , book cover, Posters, Logos, Print, Quotes, Headers, Clothing, etc. Features : Uppercase + Lowercase Numerals & Punctuations Stylistic Alternates Thank you

The main inspiration is from Art Nouveau which flourished in Europe at the end of the 19th and beginning of the 20th centuries. This design included furniture (Majorelle, Lalique) and architecture (Victor Horta, Henry Van de Velde, Gaudi, Alfons Mucha). But Hector Guimard remains the favorite for all aspects of its art and, of course, its typefaces used on the Parisian Metropolitan posters. In particular, the various kerning of the various letters he used to make the poster a whole design from singular designs, leading to numerous variations. As a designer, I first worked with the individual glyphs Hector Guimard designed and I discovered that they vary constantly from a poster to another, depending on the overall result he was looking for. Another difficulty in transferring his design to printing is that there was no lower case. I was excited to create the whole font from the original designs of Hector Guimard, incorporating its variations and "crazy kerning". After several attempts, it appeared to be impossible to include all variations and I slightly moved to my own new design as a complete font, upper and lower case, with kerning. I voluntarily limited the ascenders and descenders to the usual typography so that it can be used from 10 / 12 points. This version can be used to edit letters and books in the context of Art, specially Art Nouveau and Art Deco of course, posters of any kind.

Postal JNL lets you print out initials, words or phrases emulating postage stamps. Although there's a limited character set, it can be used along with Printing Set JNL to match any additional word copy.

GR Norch - Sports Display Font Norch is a very cool font for a design with sports themes: football, basketball, bowling, athletics, badminton, and others. With a strong display and clean nodes make a text in a design become more character and great. Inspired by the current trend of sports texts with a very modern and cool geometric style. It is formed from very carefully sports display font. Norch has 400+ glyphs. Suitable for any graphic design projects, prints, logos, posters, t-shirts, packaging and applicable for some types of graphic design. Norch is compatible with any software without any pain, especially in sports design.

William Morris (1834-1896) was probably the most influential figure in the decorative arts and private press movements of the late 19th and early 20th century. In reaction to the increasing lack of quality that the industrial revolution brought on, Morris sought a return to the ideals of the medieval craftsman. Dissatisfied with the commercially available typefaces of the day, he undertook the design of the fonts for his books himself. The P22 Morris font set features new versions of Morris's famous type designs for his Kelmscott Press. The two main fonts include full international character sets for Western European languages. P22 created MORRIS GOLDEN with a rough edge to simulate the look of printing on handmade paper. There is a more "refined" recent version of Golden, but its sterile digitization does not approach the effect that Morris achieved in his Kelmscott books. You'll notice the handmade effect less in the smaller sizes but will find it quite decorative in the larger sizes. (Morris cut his Golden type in only one size for the Kelmscott Press, approximately equal to 14 points.) P22's version of MORRIS TROY is more smooth than Morris Golden and is true to the original Morris design. It is based on the Kelmscott Troy type (an 18 point font) and its smaller counterpart, the Chaucer type (a 12 point font). American Type Founders made an unauthorized version of Troy, "Satanick," 189?, contrary to Morris's wish that it not be made available commercially.(Legend has it that the naming of Satanick comes from William Morris telling the agent inquiring about making copies of his fonts available to go to hell) Several digital versions of Troy (and Satanick) have appeared over the years. The P22 version offers a much more accurate rendering than any previous version. Morris designed the original Troy font to be spaced very tightly; our version reflects and honors his intention. The MORRIS ORNAMENTS are based on those Morris designed and used in his Kelmscott Press books. Characters in the positions of the letters A to Z are decorative drop cap initials. Characters in the number key positions reproduce other Morris embellishments. (See the accompanying key chart.) As with all headline fonts and complex dingbats characters, this font is best used at larger point sizes (e.g., 48, 72, 120). Use in body text or at small point sizes on-screen may not achieve desired results. P22 is grateful to William S. Peterson, Steven O. Saxe and the Lightsey-Offutt Library who gave invaluable research assistance to this project.

Natalya is a flashy and rhythmic script. The script has more space between characters than most for better legibility, and the basis point for the ornate swirls is the golden ratio. This makes for an especially harmonious typeface with timeless appeal. The typeface includes three alternates with variations of the ascenders and descenders. All three fonts include OpenType ligatures, oldstyle figures and ending swashes for an even more elaborate appearance.

Meows Display Font is a fun and playful font that is perfect for a variety of design projects. This font features a unique paw print in place of a traditional dot over the letter "i" giving it a playful and whimsical feel. The Meows Display Font is a bold and attention-grabbing font that is sure to make a statement in any design. The paw print feature gives the font a touch of personality and quirkiness, making it ideal for use in children's books, animal-themed designs, and other creative projects. The Meows Display Font is designed to be used as a display font, meaning it is best used in larger sizes such as headlines, titles, and logos. The font includes a full set of upper and lowercase letters, as well as numbers and punctuation, making it a versatile and practical choice for designers. Overall, Meows Display Font is a fun and unique font that brings a touch of playfulness and quirkiness to any design project. Whether you're creating a children's book, designing a pet-themed product, or working on a logo, this font is sure to make your project stand out.

Rameau for classic elegance The type family Rameau™ was designed by Sarah Lazarevic She started with the italics; these she derived from the manuscript of the opera Les fêtes de l´hymen et de l´amour", the music for which was composed by Jean-Philippe Rameau in 1747. In the 18th century, musical compositions were published in the form of impressions from copper plates that had been hand-engraved in contrast with books and other texts, which were printed from moveable lead type. The italic letters of Rameau include many ligatures and are thus typical of the engraving style of the period. Rameau exhibits much of the harmonious rhythm associated with genuine manuscript. The marked Antiqua contrasts make the pages on which the font is used quite literally sparkle. This effect is enhanced by the excessively sharp terminals and the prominent serifs of the upper case letters. This highly legible and stylish type family can be used for printing high quality books, invitations, menus and all kinds of texts - anywhere the grace and elegance of France in the 18th century is to be invoked."

Gutta Percha is a font for golfers. It takers its name from a hard, resilient natural substance that comes from the sap of trees grown in southeast Asia and which was used for the hard core of golf balls well into the twentieth century, when it was gradually replaced with synthetic material. It therefore seemed an appropriate name for a font using the image of a golfer of the 1920s. The letters are from our font Besley Clarendon, reduced to 70%. That means that Gutta Percha set at 40 points will have the same size letters as Besley Clarendon set at 28 points. However, it should be noted that the two fonts have different baselines. If you use them together you will have to manually adjust the vertical alignment. Gutta Percha is obviously a very specialized font, both because of the subject matter and because the uppercase is designed for use as dropped caps. There may not be many uses for it, but when it is right, it will be really right. Whether you are publishing a book about the history of golf or a clubhouse bulletin, Gutta Percha will surely be noticed.

Kornelis de Vries, a headmaster from the Dutch province of Friesland, cultivated new potato breeds that he named after pupils in his school. In the early 1900s he came up with the tasty Bintje (a Frisian girl’s name) and it became a big success – in Belgium and France it has remained the most popular potato for french fries to this day, more than a century since its introduction. Donald Roos took 10 kilos of fresh Bintje potatoes and cut the Bint typeface by hand with a short, sharp knife. He then inked each character once and printed it twice; the second, lighter printing is accommodated in the lower case alphabet. The Bint family offers a script to make the letters bounce up and down the baseline; with OpenType functionality the font randomly chooses each character from the upper- or lowercase alphabet. ‘Tabular lining figures’ will activate a series of negative numerals in boxes; ‘Discretionary ligatures’ activates specially designed letter combinations like ‘www’ as well as arrows and stars. Bint has a distinct, slightly rough handmade appearance, making it useful for a wide range of designs.

PTx Flowers Font Family 2 fonts: regular and silhouette each font - 6 glyphs TTF format Bear in mind that each glyph of the font PTx Flowers Regular is close to the maximum limit of points possible in ttf, which means that despite being tested in several programs, illustrator, photoshop, among others including word, some bugs may occur, depending on the rendering capability of the program you are working on. I found however that most of the time, that by the way the bugs, when tested, were only verified in word, that changing the size of the letter/glyph or even the zoom of the document, the letter/glyph was rendered correctly. These fonts have a very limited number of glyphs because, due to the glyphs having too many points, it can take some time to render. This will depend on the capacity of the machine's graphics card (computer, tablet, mobile phone). Hence a low number to take as little time as possible. See at work in word: https://youtu.be/PIMBlja2I5k See ar work in illustrator: https://youtu.be/RJp9X9TQ4so See at work in photoshop: https://youtu.be/yvrBmCJ80pc

Outrage is highly disfigured to the verge of illegibility. The base font is Fiendstar Bold Condensed and the distress pattern is derived from a series of semi-abstract paintings. The result screams.

Shining Monday is a fun and whimsical paint brushed display font. This font is perfect for children themed designs, especially when combined with bright colors. What's Include: Hello Angel Thank You, Subectype

The Buum typeface evolved from the explosive lettering originally designed as part of a house style for an interactive science centre for kids. Beside its usual application as a strong display font in print and on screen, the bold angular shapes of glyphs are adapted for negative machine- or laser-cutting into structural materials such as iron sheets, plywood, or stone ... and for creating tactile expressive surfaces and 3D objects. This pictogrammic and dazzling font remotely echoes the morphology of the lettering of futurism and constructivism, when avant-garde typography was once an exciting adventure. It is a lettering building kit with a number of stylistic alternatives of glyphs that enable a user to shape the same word differently each time. Buum is recommended by nine out of ten old school futurists, favored by steampunk CNC operators and respected by the majority of infantile anarchists.

Gamon is an innovative and daring unicase display font that is a perfect example of modern typography. The absence of traditional lowercase letters and the integration of multiple glyphs in the uppercase letters create a distinct and captivating design. The uniform size of the letters adds to the font’s appealing appearance, making it an ideal choice for large display layouts, branding, posters, and titles. Gamon’s typography is perfect for designers who are looking for a fresh and unusual aesthetic. It can transform any digital or print design stand out from the rest. Gamon’s versatility makes it suitable for a broad range of design applications, including logos, packaging, and marketing materials. Gamon’s boldness and uniqueness make it an excellent choice for designers who want to break free from the conventional design constraints. With Gamon, designers can create designs that are not only visually appealing but also memorable and impactful.

Introducing "Sunday Artela," a font that effortlessly blends playful script elements with a retro charm, creating a nostalgic yet contemporary feel. This unique typeface doesn't just stop at capturing attention — it transports your designs to a world where every letter tells a story. Sunday Artela doesn't just bring letters to life; it introduces a dynamic trio of styles — regular, solid, and fun — adorned with patterns in fun styles that add an extra layer of delight to your designs. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

Rose fonts are based on examples published in the book "Script Lettering" written by M. Meijer in 1957. These kind of handmade lettering were served as a point of departure or inspiration for many other designers along the time. These writings had flowing lines, elegant curves and flourishes, which gave him a lot of rhythm and unique personality. Mont Rose is thin, feminine, friendly and sexy, each font contain 637 glyphs with many stylistic variations, swashes and ligatures in all its letters, and a set of interesting catchwords that you can mix and match to achieve a more interesting effect in your design project.
 They support also, Central, Eastern and Western European languages. Mont Rose are very versatile fonts, ideal for high-end logos, magazines and book covers, fashion, headlines, cards, posters, websites, packaging. Using these fonts you will achieve a very elegant and warm work.

Calmingly is an elegant display serif font suitably applied to express charmingly aesthetic designs and to give more feminim touches to any of your designs. Its simple designs and letter height and line thickness variations make this font legible. Additionally, another characteristic of this font is the curvy letter edges added to some of the letters. Enjoy Calmingly’s lovely features to beautify your designs. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Calmingly fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. 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 experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.

BeachBar is a modern bold script with a sunny mood. It is inspired by, well, Beach bars, the summer and the sea, the hot afternoons with a cocktail in your hand and the sound of splashing waves. Beachbar turns our love for summer into a dynamic and vivacious font that comes in three different styles to choose from: BeachBar (connecting small letters, disconnected basic caps, ideal for text), BeachBar Alt (all letters are disconnected) and last but not least BeachBar Script (connecting letters, script-like caps and a bold set of swash capitals for more eye-catching designs). All three styles come in six weights making the font versatile and useful both for web and print; think websites, posters, menus, logotypes, cards, signage, packaging and whatnot. BeachBar is friendly, sturdy and it makes a statement, but most of all, it is fun to play with.

Agile Jewelry a stylish, modern display serif font to give you informal, modern impressions. The characteristics of this font are the extra hooks on the letters’ edges and some of the letters have curvy ending wipes. The thick and thin lines on every letter are clearly visible. For a legibility reason, apply this font for big-sized texts instead of the body texts. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Agile Jewelry fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, merchandise, social media, etc. 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 experience using our font. Feel free to contact us if you require more information when you are dealing with a problem. Thank you. Happy designing.

Opal Pro is a text family designed by Hannes von Döhren in 2008. It gives every text a noble character. The typeface has long ascenders that clearly rise above the capital letters and a low x-height. Opal’s letters sport inktraps at stroke junctions, which on one hand create a cutout feeling and on the other hand strengthens the image in larger point sizes. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to the Italic and Bold, the Opal type family includes a Script face, whose letterforms include connections, similar to handwriting. On top of that, the typeface possesses swash letters for italic and script, small caps, many ligatures and borders & ornaments. With a little bit of care, designers will be able to create the finest of traditional, elegant work with this family.

ABTS Crestwing is a unique initial font with extraordinary flexibility and beauty. There are 5 wing styles to choose from. The wings are accessed through typing numbers. The 5 pairs are: [1, 2] [3, 4] [5, 6] [7, 8] & [9, 0]. The odd numbers in the pairs will give you a left wing, and the even numbers will give you a right wing. The letters are separated into upper and lowercase. Uppercase has a crest point, the lowercase does not, giving you the ability to string letters together to form words and phrases, and place the tip of the crest above the letter of your choosing. Optional endcaps are available using the brackets on your keyboard "[, ]." This allows you to cap off a word if you wish not to use a wing to do so. Crestwing is both beautiful and unique, and works best at large sizes.

Bestyline is a captivating Bold Script Font that seamlessly blends bold lettering with the artistic elements of calligraphy. Its unique design exudes confidence and energy, creating a striking visual impact. The font features thick, well-defined characters with artistic contours, adding a touch of elegance to each letter. The strong and impressive script style makes Bestyline an ideal choice for projects that require a bold and classy appearance, such as headlines, logos, posters, and other designs. The standout features of Bestyline include the clarity of each letter, ensuring that text using this font effortlessly captures attention. Its boldness and distinctiveness make it well-suited for both print and digital designs. Whether used in headlines or logos, 'Bestyline' brings a modern and sophisticated flair to any project, making it the perfect choice for those seeking a seamless combination of boldness and beauty in their typography.

Contains 47 five-pointed star designs.

Printed text from the Old West.

A neat, upright printed handwritting font.

Palmerson is an aesthetic vintage font, inspired from the past typography, elegant signage, gold leaf , sign painting and old label product. Palmerson comes with tons of alternates characters to make more eye cacthy . Two different size uppercase and one lowercase it's make more choice to combine and find some more great typography. Palmerson Font is suitable for authentic logos, headings, sign painting, posters,letterhead, branding, magazines, album covers, book covers, movies, apparel design, flyers, greeting cards, product packaging, and more. Finally BOOM..!! you get a great design for your project.

Bredston is an aesthetic vintage typography font, inspired from the past, elegant signage, gold leaf , sign painting and old label product. Bredston comes with tons of alternates characters to make more eye cacthy . It is suitable for authentic logos, headings, sign painting, posters, letterhead, branding, magazines, album covers, book covers, movies, apparel design, flyers, greeting cards, product packaging, and more. You just combine with the another font like script , serif or san serif font and adding some effect finally BOOM..!! you get a great design for your project.

Kiosk is a prominent display typeface pair. It is a sturdy condensed sans serif and an eloquent brush script. In addition there are textured “print” versions of them both. Kiosk fonts work as a pair or as themselves. Sans is great for sturdy headlines, menu titles, packaging or any such, the bigger the better. Script is great as a logotype, used for quotes, magazines, packaging and branding. Textured versions are the same fonts with a rugged outline and with a “stamp” texture inside the letters. Kiosk Script is equipped with several OpenType features. It has Contextual Alternates and Standard Ligatures that are automatically help to keep the connections smooth. They’re both automatically on. In addition it has Swash, Stylistic and Titling Alternates and even more alternates for some characters. The font is PUA encoded and you can access alternate characters from OpenType controls or manually from Character or Glyphs window.

This script font is inspired by the flexible nib strokes to create a concatenation of refinement with character mixing the contrast with pronounced but rounded angles. This angles along with the inktraps give the font a better performance when printing. Texts will have a very even rhythm due to its consistency on the stroke’s angle and spacing. The words can receive a dramatic touch by using the wide range of glyphs with curly and refined ornamentation. There are lots of caps and number variants dressed up with a variety of swashes. Also, two sets of versatile ornaments will be found: a first set of ending flourishes that match with any lowercase letter and a second set of independent flourishes to be placed around the words. Quarzo will give a great sophistication level to invitations, cards, tags, menus, advertising and packaging. Its character map covers Western and Central European characters.

The name DIN refers to the Deutsches Institut für Normung (in English, the German Institute for Standardization). The typeface began life as the DIN Institute's standard no. DIN 1451, published in 1931. It contained several models of standard alphabets for mechanically engraved lettering, hand-lettering, lettering stencils and printing types. These were to be used in the areas of signage, traffic signs, wayfinding, lettering on technical drawings and technical documentation. Rooted in earlier designs for Germany's railway companies, the alphabets were based on geometric shapes in order to be easily reproducible using compass and ruler. In post-1945 West Germany, the DIN alphabets were widely used, for instance on most road signs. They became available as fonts that were appreciated by designers for their industrial, somewhat quirky and “non-typographic” look and feel. From the 1990s onwards, more refined versions became available for use in book and magazine typography. DIN Next is a typographically corrected and expanded version of this quintessential 20th-century design. DIN Next Rounded is its softer, friendlier version.

The Parthenon Font is a calligraphy script font in lettering style. This font consists of 6 to 7 alternates, this combination creates an amazing lettering style. The lettering style formed by The Parthenon is very suitable for brands and packaging design. To complement this need, we also include swashes and ligatures to support the creation of logotypes. Please feel free to combine alternates in any way you see fit! You will see several different views, please choose any model that matches your character. In the preview images, we provide some examples for using this font for logotype. Like the Parthenon temple in Greece, designed with calculable scales, this very measurable series of letters allows you to make pleasing words that are like a parthenon which is visually pleasing from all points of view. I hope you can enjoy and feel the joy of playing with The Parthenon! Finally, thank you for your positive response and please write to us via email if there is anything else we can support.

Young, playful, loopy, flirty. Flirt Script® carves out a niche for itself by concentrating on natural writing tendencies and not the simplified mechanics of script-to-font type design. A free-flowing monoline, the two weight typeface exploits the common letter-to-letter transitions of the typical cursive hand by utilizing three variable-height strike points controlled within the machinations of OpenType Contextual Alternates. The ease of writing (and the decisions made from letter to letter) is reflected as the structure and cadence of the writing evolves as the user types. To see it in action, click here USE CONTEXTUAL ALTS Flirt Script® is equipped for complex, conscientious, professional typography. As an exclusively OpenType release, these fonts feature over 2700 glyphs and an extended character set to support Central and Eastern European as well as Western European languages. So, to really let the font perform for you, be sure to have Contextual Alternates activated. Flirt Script® received the “Certificate of Excellence in Type Design” at the TDC2 (2014).

Stack brings the spirit of industrial chimney lettering from the early twentieth century to the digital age. The typeface is designed to work both horizontally and vertically. Additionally, the fonts can work together in myriad chromatic expressions—providing limitless design possibilities. The family is true to the spirit of masonry lettering without being a direct lift of any specific lettering style from the industrial age. Like some of its masonry predecessors Stack is built as a typeface of 15 courses (horizontal rows) of ‘bricks.’ Based on several years of research a collection of 150+ photographs and roughly two dozen archival engineering drawings were amassed. The value of the historical references is a type family that is a legitimate reflection of masonry lettering styles of the period. In updating Stack for the digital age, the proportions of the base-unit ‘bricks’ and the thickness of ‘mortar’ joints have been optically adjusted to work in both screen-based and print media. Stack would not have been possible without the research and design input from Craig Welsh and Jenna Flickinger of GoWelsh.