Hello! Let me introduce Cohen – a handwritten font named in memory of the great poet and singer Leonard Cohen. On the day he passed away I did my routine calligraphy practice and wrote a part of his song 'Night Comes On'. You may see this work in presentation pictures, and after time I designed a font based on this calligraphy. Cohen signature font is perfect for logos, branding, web, blog headlines, invitations, magazine and book design, product packaging – or for any text on postcards and on your favorite photos. Cohen includes: a standard set of characters with wide multilingual support: Western-, Central- and Eastern-European, Baltic, Turkish, Latin-type Africans, and Asian (94 languages in total) two additional character sets: lowercase letters with alternates shapes and lowercase letters with a little end-swash - for the position at the end of a word 39 ligatures for double letters and frequent combinations Cohen has a large number of embedded context-dependent auto-replacement features that give the text a natural, handwritten look and correct inharmonious combinations of letters. These features work well in many apps (even simple ones like Notepad/TextEdit), and if you need to customize their application – you could use programs that support OpenType features (for example, Adobe apps or CorelDraw). All these additional glyphs are PUA-encoded, so if your software does not support OpenType — you could access them through Character Map (Windows) or Font Book (Mac). I hope you will like Cohen and create great designs with it! And if you have any questions, feel free to contact me via e-mail: triple.hely@gmail.com

The design of the typeface Moskau Grotesk is based on the signage created for the Café Moskau in Berlin by the graphic artist Klaus Wittkugel in the beginning of the 1960s. The Café Moskau, across from the Kino International on Karl-Marx-Allee in Berlin Mitte was one of the prestige edifices of the former DDR (German Democratic Republic). Built in the early 1960s, it advanced over the years and changing social developments to a trademark building of the capital. The lettering display on the roof was created by the graphic artist Klaus Wittkugel (October 17, 1910 – September 19, 1985). He had been Professor at the School for Applied Arts in Berlin, and, in addition to the creation of many posters, book covers and postage stamps, he was responsible for the signage of the Kino International as well as for the complete graphic treatment for the Palace of the Republik. The signage for the Café Moskau with the words »RESTAURANT«, »CAFÉ«, »KONZERT« and »MOCKBA« set in capital letters, becomes the basis for the Moskau Grotesk which was developed by Björn Gogalla in 2013. This face should not be seen as an imitation. A few shortcomings were »fixed«. In favor of maintaining the core characteristics some unique features were, however, not relinquished. Lower case letters and the missing capital letters were designed from scratch. It is not surprising that the plain, unassuming geometrical direction of the basic character style forms a bridge to the architecture of the 1960s. Inspired by the then favored, diverse possibilities inherent in the architectural example and wall reliefs, two complementary pattern fonts emerged.

Ace Attitude is a friendly, readable font with character and flair. When I started designing this font I wanted something that was readable as well as interesting and appealing. Something that showed character. When I look at this font now I think of an old fashioned aviator. One of those poeple that likes to show off and have fun but can still follow rules. This font is perfect for logo's and branding. But its also very versatile would be great in things like magazines, posters, packaging, billboards, etc. Ace Attitude has an impressive 179 Contextual alternates. These are like ligatures, but oh so much better. These contextual alternates will give any project that personal touch - all without any extra effort. All you have to do is make sure that they are turned on in your program. Unfortunately, these do not yet show up in the sample text. To help with this I have created a demo version of the font so that you can still try it out before you spend the money. Ace Attitude also has Over 800 glyphs and includes features such as small caps, ordinals, ligatures, fractions, tabular numbers, proportional numbers, subscript, superscript, numerators and denominators.

I have been walking around the streets of Bangkok with my good old film camera taking photos the way like back in the day. I think there is something magical and authentic in it. Guess what, the first day I went out with that camera I stumbled upon a place is called Fotoclub BKK they develop film rolls how cool is that! I shoot all the 36 photos at the Silom area, taking random photos most came out off centred subject, wrong settings, blurry just like the way I wanted! Soon after I was working on a handwritten script that is a perfect match to the overall topic of my stay in Bangkok so I named it after this exceptional adventure I have had here. The font contains all European diacritics and special characters, some double letter ligatures and stylistic alternates for better flow and more organic and natural look. I hope you guys like it and it will add some spiciness to your next creative project! Any feedback or questions, character request please don't hesitate to contact me either in email or on social.

So far the Creator Campotype standard version known in the form of free font (published on several websites by license: free for personal use). The font takes the basic form of modern typography, but some user feedback consider it in the medieval look. Whatever it is, the inspiration of the font was originally set off from the logotype of internal student magazine where the designer had studied in the late 80s. Creator Campotype is a pure display font. This fonts do not have faces lowercase, but all caps. Nevertheless forms of different characters can be accessed by pressing the uppercase and lowercase on the keyboard. Maximum usage can be made by combining them as necessary. Some forms of characters were made more stylistic such as slash and backslash which “out of” the conventional form. In addition, the circle effects on several glyphs were created by default (as found on the free version) so that the glyph was enough to generated with the keyboard access as usual. Information for those who have access to the free version, there are significant changes in this version (2001) as described in the file “creator ct pdf” (gallery)

The gorgeous back-glass artwork for the iconic pinball game Xenon influenced Cyclopentane. The peculiar letter interactions are challenging to employ but pay off handsomely when they communicate your message in such an unusual manner. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Upon numerous demands of highly esteemed users of our fonts I decided to supplement the Walbaum type family by display and poster cuts. Because I obviously cannot compete with world’s renowned type foundries which already offer a number of renderings of forenamed typeface, I thought proper to decline a bit from the original Walbaum’s design, strictly speaking, from the apprehension we commonly keep about this typeface. Therefore I didn’t set forth the way of modernizing (shame!), but rather the opposite direction: towards an analysis of the original neo-classical intention. I took the 10-point character, magnified it enormously and cut off progressively all the optically thickened bobbles which raised by small-size correction. I ended up at the size of about 120 points, where it became obvious that any further thinning would lead to an undesired manneristic fragility. Resulting 8-member family Walbaum 120 is naturally usable in variety of sizes, as well as cuts marked “10” you can use, say, from 6 to 30 points. I only hope that mister Justus Erich won’t pull me by the ear when we’ll meet on the other side...

In 1925, at the request of Barnhart Brothers & Spindler, the foundry he worked for, Oswald Bruce Cooper designed a wide selection of "screamers", oversized exclamation points used to grab attention in display advertising. The foundry rushed the screamers into production, much to Cooper's dismay. Cooper was disappointed with the final form of the screamers– they were designed in assorted weights to match the assorted Cooper series of typefaces, as well as in a variety of other formal solutions- squaredoff, incised, wavy, Tuscan, and rounded. Cooper's working design methodology was to re-draw his projects a number of times in order to refine the formal results. However the screamer project was hastily cut by the head of BB&S's matrix engraving room in fourteen sizes from the initial sketches, causing Cooper to fire off a fiery missive stating, "Everything I draw is bum the first half-dozen times I draw it; the trouble with these is that I drew them only once!" This typeface is the result of researching Cooper's original drawings and series of engraved proofs for the screamers, as well as the original Screamer type specimen. Cooper Screamers have never been available before in digital format.

In my on-going quest for display fonts to be used with my books and on my book covers, I decided I need a squared sans serif. I started the build off of Fiscal, a font I designed back in 2006. I never liked the font, plus my tastes have changed. So, I opened it, made it narrower, increased the x-height, and various stuff like that. I made it much heavier—an ended up with Boxy. Then my brain slapped me and said, "Why don't you make a sorta modern version?" So, I did and decided to call that style Chic. But then I wanted a thin version also. Fiscal was always too heavy and ponderous for me. So, I made the Thin style. Finally, I felt I needed an italic of Chic. OpenType features didn't seem to work well with the family, so all I added was oldstyle figures. So, I ended up with another of my unique families—with two unmodulated fonts: Thin and Medium, and two modulated fonts: Chic and Chic Italic. But, I'm pleased with it. My hope is that you will like it also.

Proudly Present Railway Gank - Street Marker Type, created by ikiiko The free-spirited brush strokes of hand lettering and the strong, urban attitude of street markings combine electrifyingly to create Railway Gank. This font effortlessly jumps out and attracts attention because it embodies the fervor of the streets and the unvarnished reality of graffiti. Railway Gank's brush-style aesthetics give it a handcrafted, real charm. Its flaws and differences give it a unique personality and capture the actual spirit of street art, where each stroke is distinctive. Railway Gank uppercase letters exude confidence and flare, while the lowercase letters give off a more laid-back and welcoming vibe. It is a versatile option for numerous design concepts because of the contrast's ability to create a pleasing equilibrium. This typeface is perfect for an poster event, book cover, movie title, streetwear stuff, magazine layout, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Alternates Multilingual Support Works on PC & Mac Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Sprig is a dynamic font that combines in-your-face chutzpah with contemporary brushstrokes. The character shapes are contained, yet give a feeling of casual, off the cuff ease. In some, subtle ways it pays its respects to the sign painters of the 30s and 40s The font comes in three styles: - Display, with extravagant upper case characters and some opentype features - Text, with more contained upper case characters (suitable for "all caps" use) and some opentype features - Professional, where OpenType features include alternative upper case characters (both the TEXT the DISPLAY caps), as well as a number of ligatures. (For use in applications that access OpenType features.) What this means is that Sprig Pro combines all the characters of Sprig Text and Sprig Display in one font and it also has additional ligatures. Sprig Pro contains over 283 characters, while all styles of Sprig contain a full upper and lower case character set, punctuation, numerals, symbols and accented characters for both all characters that they contain. It has all the accented characters used in the major European languages. The Sprig User Guide provides you with more information on how to use Sprig Pro.

Mariachi is a new condensed version of our Maison Luxe font which is a revival of an old 1800's classic ornate French font. This new 2021 condensed version takes this old classic to an all new level by adding small caps, italics and a new solid black version. Mariachi is perfect for headlines and logos from advertising to product labels, t-shirt lettering and restaurant menus. Fill fonts are also part of this family, new to this font style is the half fill font for creating a two color effect on the letters, you'll need an application that works in layers to use the fill fonts in Mariachi. The regular fill font for Mariachi isn't meant to be used as a stand alone font so we've created a solid black version with thicker serifs on top and adjusted outlines throughout for a better appearance as a solo font. The difference between Mariachi and our Mi Casa font is that Mariachi has a squared off shadow on the top half of the letters. We hope you enjoy Mariachi as much as we did making it. Mariachi is a trademark of FontMesa LLC

Choosing fonts for design projects can be a daunting task because there’s thousands of fonts out there all over the web that you could use. Here it is. A font that can add touch of magic whether you’re looking to create a big, bold logo for your business, work on a poster for an event, or whatever your project may be. Finest Vintage-A Retro Script Font Finest Vintage is a beautiful font, employing the iconic bubble style with strong outlines and fat strokes. This font features thick and angular letters that easy on the eyes and nice to look while it’s also easy to read. It is well suited for making your logos really stand out. The font comes with a range of multilingual glyphs and is one of those bubble fonts styles that’s hard to take your eyes off. Finest Vintage becomes more special with extruding version option. Perfect to create amazing headings, logos, menus, social media graphics, and many more. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Ligatures Stylistic Alternates Swashes PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Introducing BOTAKY Romellast fontduo Unique and fantastic duo fonts combined or they stand alone. BOTAKY font family which consists of 10 families, from Thin to Black style. The funky, swaying font creates a unique design and is sure to take the eye off the design target audience. Apart from being unique, the BOTAKY font also has a luxury simple character that makes the design charming. The Romellast font is a signature script that has cool strokes. The line shape from Romellast is inspired by the brushes on Instagram when creating stories. This brush is very cool and is often used by netizens who are not designers or designers. In addition, Romellast has an altenate ligature that looks natural and not stiff. There are 2 styles of the Romellast font, namely the Thin style which is thinner and the regular style which is thicker, so you have several options to suit your taste. Combining the two BOTAKY and Romellast fonts will create a design that is charming, unique, elegant and cool. you can see from the design preview. These two fonts are perfect for designs with the concept of elegant, luxury, romance, fashion and so on.

I had a totally different name assigned to this font at first. Then, while drifting off to sleep one night during the creation process, my sleepy brain said, "You know, BLORP would be a great name to go with these letter shapes." Normally when I have those half-asleep ideas and look at them in the morning, they make no sense. But I decided to make a sample image for BLORP, and it turns out I really like it! So ... BLORP it is! This font is extensively edited for super-smooth lines and curves, so it'll cut like butter in your Cricut or Silhouette machine. Though it's also super cute for print projects, logos, branding, or anything else you want to use it for! It has a funky mix of letter sizes and heights, and two sets of uppercase letters, so you can mix everything together JuSt LikE tHIs, and it'll still look great! BLORP includes over 300 extended Latin characters for language support, including, but not limited to: Catalan, Czech, Danish, Esperanto, Estonian, Finnish, French, Gaelic, German, Icelandic, Irish, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Romanian, Serbian (Latin), Slovak, Slovenian, Spanish, Swedish, Turkish, Welsh, and more!

Axia is a robust sans serif of concise letter forms. It comes in ten weights from Light to Black with extended language support, a host of OpenType features including Small Caps, multiple figure styles, and more. Each, the roman and italic weights harmonize perfectly in line width. Text set in Light or Black results in the same fit. Stencil display weights with a unique aesthetic and perfect for captivating type sizes add further distinctive options to the typographic palette. The stencil display weights consist of abstract floating parts that seduce the eye and form nicely proportioned type when united. Originally designed for the Rice University School of Architecture in 2011, this contemporary sans found some inspiration in the TwinCities™ typeface family created by Sibylle Hagmann for the University of Minnesota in 2003. Orchestrated from scratch, the inner arched strokes off the stem on the lowercases 'n' or 'd', for example, progressively open the letter forms and express conceptual clarity throughout the system. A feature doing double duty that contributes to great legibility in the heavier weights and attributes to the versatility of individual weights.

Comalle is an organic typeface that rescues some elements of handwritten script, but its stroke does not necessarily answer to a literal calligraphy structure. So Comalle could produce a powerful impact on the page, it was designed with thicker strokes than its counter forms. The objective is that the black of the letter fills the page and causes a fastest visual impact than typographies that balance blacks and whites. One of the most important tasks of the Comalle design was to think of how to handle the unequal percentages of blacks and whites in the typeface. The peculiar thing, is that the precision work of the letter does not make the blacks, but the whites; this is the reason why in one first instance it was very valid to start off designing in a very gross way, nevertheless, the majority energies are put in the details of the design of counter space. From the drained filling concept of forms Comalle was born, a typeface that pretends to enchant with its delicate counter space design and to impact with the heavy outlines which compose its form.

Le Typorium présente une nouvelle famille de caractères calligraphiques basés sur une écriture étudiée à travers les manuscrits et autographes de Georges Brassens, poète et musicien (1921-1981). Son tracé, rigoureux et appliqué, souvent minutieux, est à l’image d’une œuvre unique et singulière, immédiatement reconnaissable. Le script Brassens offre des fonctionnalités OpenType telles que des caractères alternatifs pour les majuscules et les minuscules afin de renforcer la fluidité d’une écriture manuelle, des chiffres alternatifs, des fractions et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues étrangères. Trois graisses ont été créées afin d’offrir une large palette de possibilités graphiques. 60 images d’un poète qui a cassé sa pipe à l’âge de 60 ans., classées en trois séries de vignettes (pictogrammes, symboles, portraits), elles illustrent l’univers imagé et la richesse symbolique de la poésie de Georges Brassens où les représentations mythologiques et allégoriques y tiennent une part importante. Georges Brassens est un poète, auteur-compositeur-interprète né à Sète le 22 octobre 1921, mort à Saint-Gély-du-Fesc le 29 octobre 1981 et enterré au cimetière Le Py de Sète. Auteur de plus de deux cents chansons populaires, il met en musique et interprète ses poèmes en s’accompagnant à la guitare. Outre ses propres textes, il met également en musique des poèmes de François Villon, Victor Hugo, Paul Verlaine, Paul Fort, Antoine Pol, ou encore Louis Aragon. Il reçoit le Grand Prix de Poésie de l’Académie Française e 1967. Un grand nombre d’écoles, salles de spectacle, voies, parcs et jardins portent également son nom, dont à Paris le parc Georges-Brassens, tout proche de l’impasse Florimont où il vécut ses premières années parisiennes, de sa maison de la rue Santos-Dumont et du café Les Sportifs Réunis – Chez Walczak – rue Brancion qui lui inspira « Le Bistrot ». À Sète, l’Espace Georges Brassens ainsi que de nombreux festivals et associations redonnent vie au poète et à son œuvre. The Typorium presents a new calligraphic typeface family based on a writing studied through the manuscripts and autographs of Georges Brassens, poet and musician (1921-1981). Its layout, rigorous and applied, often meticulous, is in the image of a unique and singular work, immediately recognizable. Brassens script offers OpenType features such as alternate characters for upper and lower case to enhance the fluency of handwriting, alternate numbers, fractions and an extended accented character set to support many foreign languages. Three weights have been created to offer a wide range of graphic possibilities. 60 images of a poet who broke his pipe (French expression for passing away) at the age of 60, classified into three series of vignettes (pictograms, symbols, portraits), they illustrate the imagery world and the symbolic richness of Georges Brassens poetry where mythological and allegorical representations hold an important part. Georges Brassens is a poet, singer-songwriter born in Sète on October 22, 1921, died in Saint-Gély-du-Fesc on October 29, 1981 and buried in Le Py cemetery of Sète. Author of more than two hundred popular songs, he sets to music and performs his poems, accompanying himself on the guitar. In addition to his own texts, he also sets to music poems by François Villon, Victor Hugo, Paul Verlaine, Paul Fort, Antoine Pol, or Louis Aragon. He received the Grand Prix of Poetry from the Académie Française in 1967. A large number of schools, theaters, streets, parks and gardens also bear his name, including in Paris the Georges-Brassens park, very close to the impasse Florimont where he lived his first years in Paris, his house in the rue Santos-Dumont and the café Les Sportifs Réunis - Chez Walczak - rue Brancion which inspired "Le Bistrot". In Sète, the Espace Georges Brassens as well as numerous festivals and associations bring the poet and his work back to life.

The dearJoe series of fonts came to life around the year 1999, when I created dearJoe 1, which was a first (and half-assed) attempt to convert my own handwriting into a working font. Being able to type in my own hand had always been a childhood fantasy, and even though I only partly understood the software, a working font was generated and I decided to put it on the internet for people to use in their own personal projects. Which they did: at this moment the dearJoe 1 font has been downloaded millions of times and can be found on Vietnamese riksjas, Tasmanian gyms and chocolate stores on 5th Avenue for instance. The font is not something I am particularly proud of, but it started me of in building what's now the JOEBOB graphics foundry. Inbetween creating other fonts, the dearJoe series has become a theme I revisit every once in a while, trying to create an update on how my handwriting has evolved, along with my abilities in creating fonts that mimic actual handwriting. In the last decade or so I started implementing ligatures and alternate characters, which helped a lot in coming to a result that can almost pass for actual handwriting. The 2019 dearJoe 7 font is the latest addition to this font family. All characters were scanned from handwritten notes, cherrypicking the characters and letter-combinations I liked best. They were written with a Lamy M66 B pen and only minor adjustments were made to the original scans, leaving most little flaws and rough edges as they were for a convincing ball-point on paper result. The font comes with over 150 ligatures, making sure the font has a variated and credible overall look and feel.

The Atrament font family was originally conceived in 2003 as the corporate display type family for Suitcase Type Foundry. Its original source of inspiration is the front cover of the Devetsil - Revolucni slovn’k almanac (1922), designed by Karel Teige. The lettering on this cover is a condensed sans serif with rounded stroke terminals. Atrament is significantly broader than the model and its characters are better balanced, reflecting the evolution of semi-condensed sans serifs throughout the 1960s. The horizontal strokes of both lower and upper case are less stressed than the vertical stems. Noteworthy are the unusual tiny gaps in the apex and vertex of letters with diagonal strokes, designed to prevent ink from spreading and smudging the letter shapes. This detail is one of the main features of the font's character. The general feel of the italics closely matches the strictly vertical, parallel character of the regular cut. When converting the family to OpenType the alternate character shapes from the Alternator weights were incorporated in the regular cut, which allows the user to switch selected characters from one shape to another within the same font. A number of glyphs and accents were corrected, and all the glyphs missing in the Suitcase Standard character set were added, along with the relevant kerning pairs. The individual weights of Atrament Std thus contain accented upper and lower case, small caps, alternate glyphs for most European languages, nine types of numerals, superscript characters, caps glyph versions, and much more. Its narrow proportions make Atrament the perfect choice whenever economy of space is a must. It is however not very well suited for setting long texts. Ideal for headlines and display use, it is perfect for situations where the text needs to make a great impact in a little space.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. This version of Bodoni was done by Morris Fuller Benton for American Typefounders between 1907 and 1911. Although some of the finer details of the original Bodoni types are missing, this family has the high contrast and vertical stress typical of modern types. It works well for headlines, logos, advertising, and text."

Introducing the spookiest typeface on the block—Darkheart! With its condensed horror style, this font will send shivers down your spine. The interlocking letterforms are reminiscent of the monstrous creatures that roamed the silver screen in the 1960s. Darkheart’s eerie letters will give your message a mournful and terrifying voice, perfect for any horror-themed project. Use this font to create movie posters, book covers, or even Halloween party invitations. And, for your convenience, Darkheart is designed with ligatures that automatically create interlinked combinations. No need to fiddle around with separate letters, let the font work its magic and create the perfect spine-tingling message. Don’t miss out on this creepy typeface—get Darkheart today and let the monsters lurch to life! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Passport48 exclusively in otf. opentype format, originally debuted in 1997 as Passport, close to the beginning of the indie typographer boom. Almost 25 years have passed since it was introduced at MyFonts as PS1 and later in 2003 in TT TrueType.** It was designed by Joseph Coniglio of Coniglio Type as a revival. Historically, Passport was digitized from a shiny black enamel 1948 Royal Silent Deluxe portable. Kept on the ship of merchant marine, Captain John O’Learn, it was a salty manual typewriter with no intrinsic value as a collectable, even though it is awash as a work horse and a fine communicator of it’s time.. **NOTE: Little Passport family leaves the nest: The old weight variations, styles and formats have been eliminated to allow the original face to be stand alone, on its own attributes. For those purchasing their first typewriter fonts and to our diehard collectors as well, Passport presents a friendly new port-of-entry. A simple set, that is freed of many of the normal distressed points and paths that had made most “typewriters” authentic looking, but difficult to print and manipulate in layouts back in the day. It’s smooth nature comes from its impressions struck directly onto a piece of carbon paper bypassing the silk ink ribbon and going directly from metal to carbon paper transferring to a piece paper with very little tooth. Examine the glyphs to be certain you have what you need from this minimalist set, Passport48 is intended for ease of use and affordability. This is a warm font in a cold cruel world and a real port in the storm! It is versatile in today’s layouts with 24 years of worldwide sales. …Please enjoy the fruits of its travels, hoping your destinations and explorations into graphic design and letter composition are happy ones. -Joe Coniglio, the Pacific Northwest (2021).

You might call this a Bodoni Ornate font that Bodoni never made, close examination of this old 1800s font and it's plain to see that the top half of the letters is very Bodoni in appearance. Apple Pie is a revival of and old font from the William Hagar Type Foundry, which I've been able to date back to 1850. The William Hagar type specimen book from the 1850s only shows this font as a caps only typeface plus numbers, later in 1869 MacKellar Smiths and Jordan offered this font with a lowercase. Over a two year period I was able to collect enough letters to begin production of this old decorative font, the type specimen books only showed a small line of text for this font so I would search through old documents on eBay and also shows relating to Ephemera. I could have easily developed a new font based on a very small sample of letters but I wanted to wait and find as many letters as possible, I was unable to find the Q, X, Z and ten lowercase letters so those missing letters are of my own design. New to this font is the addition of an all Caps Greek character set, accented letters for Eastern Central and Western European countries is also within this font. Fill fonts are available for the Apple Pie font, you will need an application that works in layers such as Adobe Photoshop, Adobe Illustrator or Corel Graphics in order to use the Fill fonts. Some Fill fonts may be used as stand alone fonts but the versions for Apple Pie look best when layered behind the parent or main Apple Pie fonts. Be sure to check out the left and right hands located on the Less Than and Greater Than keys.

Born on May 8, 1892 in Reno Nevada, Lewis Franklin (“Lew” ) Hymers left an indelible mark as a caricaturist, cartoonist and graphic artist. At the age of twenty [in 1912] he worked for the San Francisco Chronicle. During World War I he worked for the Washington Post. He even was employed for a time by Walt Disney as an animator - but most of his life was spent in either Tujunga, California or his birthplace of Reno, Nevada as a self-employed illustrator. Hymers inked a feature for the Nevada State Journal called “Seen About Town”, which was published during the 1930s and 1940s. In this panel, he caricaturized many of the familiar faces around Reno. He also designed signs, logos, post cards and numerous other commercial illustrations for clients, but what has endeared him to a number of fans was his vast library of stock cuts (the predecessor to paper and electronic clip art) which feature his humorous characters in various professions and life situations. So popular is his work amongst those “in the know” that a clip art book collection of over seven hundred of his drawings that was issued by Dover Publications [but long out of print] commands asking prices ranging from just under $15 to well over $100 for a single copy. Lew Hymers passed away on February 5, 1953 just a few months shy of his 61st birthday. Although his artwork depicts the 1930s and 1940s lifestyles, equipment and conveniences, more than sixty years after his death they stand up amazingly well as cheerful pieces of nostalgia. The twenty-seven images (and some variants) in Hymers JNL were painstakingly re-drawn from scans of one of his catalogs and is but just a tiny fraction of the hundreds upon hundreds of illustrations from the pen of this prolific artist.

Y’all ready for this? Now starting for Insigne: the new serif Mirantz. This rookie all-star plays a precise game every game, cutting at all the right angles to leave your reader impressed and ready to see more. You can always count on Mirantz to lead with solid mechanics and a clean style, but don’t be surprised when the face keeps it real with a little individual flare and creativity. This personal touch is nothing short of elegance in every appearance. So what makes us love this rookie above the other great players in the field? Contrast, for one. Mirantz brings more contrast to the game than most serifs out there. The serifs on this face have a crisp, sharp wedge that naturally draws the reader’s eye. You can’t help but fall in love with its clean, natural style. Mirantz also features a tall x-height and regular proportions that can play a number of positions on the page and still stay strong through the last half of the copy or even the final period. Mirantz is a solid powerhouse player, containing a complete set of small capitals and nine weights from thin to bold. It can play well both down low and up top with its subscripts and superscripts and can move your reader’s eye easily across the copy with its titling capitals, condensed and extended variants, and open style figures. With its options covering more than 72 Latin-based languages, look for this newcomer to have international success in the near future. It you haven’t set your draft picks for this next round of projects, think hard before passing up Mirantz. A capable serif like this one is a guaranteed asset to any team of fonts. Production assistance from Lucas Azevedo.

Introducing color Retro font family. Modern retro design dictates its own rules and graphic techniques - one of which is fonts with outlines. Retroline font family embodies this. 4 fonts with black stroke and white fill, and 4 fonts with only black stroke are perfect for retro illustrations. Color scheme of colored fonts is convenient and easy to recolor in graphics programs. Retroline fits comic illustrations or designs from the 90s Features: 8 fonts in family: - 4 color fonts with fill & outline - 4 fonts with outline only 2 weights of fonts 2 weight of outline Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Looking for something new for setting powerful headlines? Need a font that can create logos with ease? How about something masculine, a design with authority and panache? Then ITC’s newest typeface, ITC Sportbet™, may be the perfect choice. ITC Sportbet is a design that should be set tight, creating an arresting graphic image as well as words. Although a capital-only typeface, it benefits from a large suite of alternate characters that enable individual words and headlines to be customized with a distinctive personality. In addition to the obvious power of ITC Sportbet’s square-jawed character shapes, it’s fun to use. Exchange one or two letters with their alternative designs and a brand new headline or logo appears. ITC Sportbet was designed by Dane Wilson, the principal of the London-based design firm of Dane Design. Although this is his first commercial typeface design, Wilson has ample experience creating logos and custom typefaces for corporate branding. In fact, Sportbet grew out of such a project. “The idea initially came from wanting to provide a client with a stylish, modern and graphically impactful corporate identity logo font,” recalls Wilson. “Although the first sketches looked promising as a typeface, because of time and budget constraints, developing an entire alphabet would be overambitious.” Not to be deterred, Wilson continued to work on the design when time permitted. He eventually completed the font and started final application tests. The results looked good to Wilson, but he felt that the design was missing something. “I hit upon the idea of breaking out the left side of all the closed counters,” Wilson wrote about the design. “This simple device gave Sportbet the kick it needed.” Although one weight and a capital-only typeface, Wilson’s ITC Sportbet should prove to be a powerful and versatile communicator.