Introducing a vintage look label font family named "Unfair". All available characters you can see at the screenshot. This font have 3 styles with 3 version of each - Regular, Shadow and Rough. This font will good viewed on any retro design like poster, t-shirt, label, logo etc.

Following up on the LP Saturnia, which is a modern interpretation of the classic Roman letterforms, comes the LP Saturnia Sans. While keeping the clear forms, this well-balanced Sans transports the original draft even further in the modern and at the same time preserves its classic character.

Visage is a contemporary text family designed by Garrett Boge in 1988. Its delicate serifs, subtly tapered stems, and generous proportions offer both distinction and readability to the text at any size. The family consists of five weights - Light, Book, Medium, Bold and Black, with corresponding oblique styles.

Kryptic is based on a design for computer optical character recognition (OCR) from the 1960s developed by Epps & Evans at the National Physical Laboratory. Its pure geometric and elemental shapes create graphic patterns and visual puzzles that only secondarily communicate meaning. Not recommended for extended text, unless intentionally encrypting!

Funback Script Inspired by Life style with trend typography. I'm combine with my Hand Lettering style. made with personality touch every single curve. I hope this can make inspire you from your work. and a very bouncy baseline It has a perfectly paired complimentary marker font , and a super handy set of bonus Swash. Ideal for logos, handwritten quotes, product packaging, header, poster, merchandise, social media & greeting cards. Files Include : Basic Latin A-Z and a-z Numbers Symbols PUA Encode Multilanguage Support In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files: Thanks and have a wonderful day, If you have any questions, please get in touch with us Don't forget to check out our other products.

When the right late seventies / early eighties message is needed, Toisy comes to the rescue. Founded on a mix of references from letterforms of the time, this new original nods to a style that defined an era. A sexy theme font that conveys a clear image of what was truly chic thirty years ago, this alphabet is deeply rooted in sultry memories of soft, endless nights. Exaggerate contrast between strokes and angular lines combine with rounded corners to provide a unique character and a look that sharply differs when set in all caps or lower case, thanks to an uncommon treatment of density and proportions. Set it real tight, as was typographically in fashion circa 1981. Toisy and Toisy Greek include a set of 13 matching images inspired in leisure stuff and the clothing of the last days of disco. They are different from the set included with Toisy Alt.

IMPORTANT: This is the VARIABLE VERSION of PG GROTESQUE This is my interpretation of Edel Grotesk – a “lost typeface” from circa 1914 produced by Johannes Wagner GmbH of Ingolstadt, Germany. PG Grotesque is definitely not a revival, or even a faithful reproduction of that typeface as I was unable to source enough accurate references. What I have done is take the essence and unique characteristics of that typeface and brought this forgotten gem right into the 21st century. This variable version includes 99 instances spread across 9 weights and 6 widths with the ability fine tune the width, weight, and italic angle to your exact preference. Distinctive features include high-waisted capitals, a straight-legged capital ‘R’, and flattened arches in the ‘a’ and ‘g’ glyphs. Using PG Grotesque will give your typography a distinctly retro feel with its vintage heritage inherent in every character. You will find this is an incredibly versatile typeface with added value from its extensive language coverage along with small caps availability at the click of a button. PG Grotesque will prove to be a valuable asset in your type arsenal. See full details and hi-res images at https://paulogoode.com/pg-grotesque

FF Nort™ has all the design attributes that make for an exceptionally versatile print and web typeface – and it benefits from a distinct personality. Equally at home in long-form text copy or billboard size headlines, the family knows few boundaries. There is also a handcrafted neo-grotesque quality to the design, giving FF Nort a friendly mien and separating it from other industrial strength sans serif typefaces. Terminals are clipped at 90° angles to the stroke and counters are slightly condensed, saving space with no loss of legibility. The light weights have a subtle elegance, while the bold are commanding. All eight weights, and their italic companions, enjoy a large character set, with support for most Central and several Eastern European languages – including Cyrillic and Greek. Drawn by Jörg Hemker, the inspiration for FF Nort came from Transport, the typeface designed for Britain’s highway signage. Transport is formal, intellectual, and a model for modern street signage, but it was not intended for small sizes or continuous reading. Hemker took the basic structure of Transport and rebuilt it into a design that’s perfect for a wide range of contemporary hardcopy and digital imaging projects.

Mundane information—the sort you might ignore—often appears in the form of very simple, utilitarian lettering, devoid of personality, the sort of industrial lettering you find on old blueprints, park restrooms, and electrical boxes. MVB Diazo is such a thing. It looks like lettering done earnestly with a plastic template. The monoline caps—constructed from straight lines and simple curves—have rounded details as if rendered by a blunt pen on a topographical survey or by a router on a rustic campground sign. The MVB Diazo fonts are compact, available in two widths: Condensed and Extra Condensed. Each width offers four weights from Light to Black. The fonts are perfect for wherever plain and boring letterforms are required. All widths and weights are also available in two distressed textures (#1 and #2) that accentuate the industrial character of the design. Rough #1 is gritty, with finer texture for use at larger sizes. Rough #2 exhibits more damage, the roughness apparent when used at smaller sizes. The Rough fonts include alternates of a number of glyphs so that variation of texture is possible when letters repeat in a word.

If you need to say something weighty, say it with Blood Orange. Blood Orange is a hearty rounded serif font with an easygoing confidence and a delightful nostalgic feeling, without the dusty burden of actual fonts from the last century. Blood Orange works great as a logotype, in magazines, headlines, posters, advertising and packaging. It’s at its best in short sentences since it’s so bold, but can be used for a bit longer text passages too, with some spacing added. As a product of modern era, Blood Orange is fully equipped with plenty of OpenType goodness: Contextual Alternates and Standard Ligatures do their usual trick in smoothing certain letter combinations, and they’re automatically on. In addition it has a wide range of Discretionary Ligatures, Stylistic, Swash and Titling Alternates that you can trigger on from OpenType controls in any OpenType savvy program, or manually select the suitable variations from the character window. Try these alternates for more eloquent designs, but remember to treat them like you would treat you would treat really strong spices: just a bit at a time. See the full range of the alternative glyphs on the specimen posters.

Clinto Sans Serif Clinto Sans is a simple geometric sans serif font Clinto Sans are constructed using basic geometric shapes such as circles, squares, and triangles. The letterforms are based on simple geometric proportions, resulting in a consistent and harmonious visual rhythm. Clinto sans serif fonts embrace simplicity and have a minimalistic approach. They aim to reduce letterforms to their essential elements, eliminating any unnecessary embellishments or flourishes Clinto Sans also has Straight Lines and Clean Edges. Clinto Sans also have open apertures, which refer to the space enclosed by the curved or diagonal strokes of certain letters like "a," "e," "g," and "s." The open apertures contribute to legibility and readability, especially at smaller sizes. Special features: - Ink trap Ink traps are small recessed areas or notches incorporated into the corners or junctions of letterforms. They were originally designed for letterpress printing to prevent ink from filling in and distorting the shapes, especially at small sizes. However, in modern digital fonts, ink traps are often used as a design element to add visual interest and maintain legibility at small sizes or in low-resolution environments. - Alternates Stylistic alternates offer alternative shapes or forms for certain letters in the font, a, e, g, and r, etc. Stylistic alternates can be accessed through OpenType features in design software. OpenType is a font format that allows for advanced typographic features and character substitutions, you can access the alternate letterforms through the glyphs palette or the OpenType panel in their design software and apply them selectively to specific letters. Thank You _

Wedding Regular was originally designed by Morris Fuller Benton for ATF and released as Wedding Text in 1901. It is a lighter version of his ENGRAVER'S OLD ENGLISH of the same period. Wedding Regular is based on the Textura style of blackletter that continued in popularity in England into the 16th century, long after the Dutch, French and Italians had moved to a Roman model that expressed the Renaissance humanism of the period. Wedding Headline is a still lighter version of the regular text face, suitable for setting larger sizes while still preserving the delicacy of the decorative hairlines. Textura continues in use in England and the United States for newspaper mastheads, gift shop signs, wedding invitations and programs and other applications where a feeling of tradition is desired. I recently saw an 1980ish photo of a “Tubby Isaac” sign in London using textura. I believe Benton’s design captures that feeling without being heavy-handed and still remaining quite readable for eyes accustomed to Roman lettering. Both Wedding Regular and Wedding Headline convey a comfortable familiarity. These two fonts may be purchased together at an attractive discount or they may be purchased separately. The full character set may be found in the pdf file that you can download from the gallery section. The two monks (alt-0172 and alt-0177) are from a set of sixteenth century decorative initial letters by Gering and Renbolt. Please note that there are two different eszetts, the blackletter style at alt-0126 and the antiqua style at the alt-0223.

Tipograf�a caligr�fica inspirada nos t�tulos das canci�ns dun caderno familiar de partituras de 1941. � unha fonte creada da maneira m�is fidel posible a como se debuxar�a cunha pluma estilogr�fica do momento. Axeitada para t�tulos ou letras capitais. Non se recomenda empregar para textos longos, de non ser que se pretenda simular un arquivo antigo dun estilo manuscrito semellante. Tipograf�a caligr�fica inspirada en los t�tulos de las canciones de un cuaderno familiar de partituras de 1941. Es una fuente creada de la manera m�s fiel posible a como se dibujar�a con una pluma estilogr�fica del momento. Adecuada para t�tulos o letras capitales. No se recomienda utilizar pata textos largos, a no ser que se pretenda simular un archivo antiguo de un estilo manuscrito semejante. Calligraphic typography inspired by the titles of the songs of a family notebook of 1941. It is a source created in the most faithful way possible to how it would be drawn with a stylus pen of that moment. Suitable for titles or capital letters. It is not recommended to use for long text, unless you pretend to simulate an old archive with a similar manuscript style.

The 1923 Barnhart Brothers & Spindler specimen book called this typeface "Cardstyle", and suggested its use at small sizes for business cards. It also work quite well in large sizes when a warm, casual antique feeling is called for. Named for a river that flows through Washington, DC. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

MS Mincho™ Japanese font features serifs at the end of its strokes, and can be used for a variety of uses from screen display to publications. This font file is 5.3 MB in size. MS Mincho Japanese font is a trademark of Microsoft Corporation. MS Mincho font Character Set: Latin-1, Japanese (code page 932). MS Mincho is available in both TrueType and OpenType font formats.

Sheet music featuring a song from the 1933 film "Torch Singer" starring Claudette Colbert was the basis for Dine and Dance JNL. A multi-line Art Deco design, it epitomizes both the typographic style and the night life of the time, when supper clubs featuring big bands were at their peak. Torch Singers were female vocalists who typically sang melancholy love songs of lost love and heartbreak.

Manson font , created because it was inspired by the shape of colossal stone pillars, a unique shape where at the waist the font structure is curved and this gives a solid impression. This font perfect for vintage and poster designs as well as for your logo design, brand image, retro poster, handwritten quotes, product packaging, merchandise and more What you get dear, you will get :

Zappaloosa is a wordplay, and the name came to me while listening to the radio while making this font. At a point I must have misheard something, but the name Zappaloosa popped up in my mind. The letters of Zappaloosa are playful and easy to use for serious or more loose use. I've added 3 different versions of each lowercase letter and multilingual support

Amadeus was inspired by an alphabet reputed to be used in the Papal Chancery in the 16th century. It has highly decorated capitals and to be used at its best requires a large point size. The lower-case characters have been deliberately made simple to contrast with the ornate capitals. Included within the font are many extra characters plus a complete set of framed numerals.

Although less prevalent today, a cover charge was added to better class night clubs of the 1930s and 1940s to discourage patronage by people of questionable social graces. The general idea was that the lower strata of society (meaning the "average Joe" or "hoi polloi") would balk at paying an extra fee just for entrance to a place of good entertainment and fine dining.

Black Octopus This is a very charming and bold display font with a very modern style making this font very suitable to be your choice, there are several families that you can incorporate into your designs, make this your font of choice at the beginning of this month, perfect for everyone. types of designs, magazines, banners, banners, books, social media posts, and much more thanks very much

Inkster breaks all the rules. The serifs vary from letter to letter, if they have any serifs at all. The upper and lower case letters intermingle and the contrasting characters bounce all over the baseline. Loosely based on the character shapes of Frisco, I developed a tightly spaced calligraphic version and called it Inkster. Use this artistic font when youre looking for a distinctive style!

Otari is vibrant and contemporary, but serious and built to last. Its character shines in display type, but doesn’t interfere at text sizes. Otari aims to capture the essence of Wellington, New Zealand in a single typeface. The contrast of a colorful art scene and the conservative colonial British aesthetic, which is still evident in the capital city, laid the groundwork for this design.

Designed for ParaType in 1999-2003 by Manvel Shmavonyan. This is a low-contrast serif typeface with large x-height and small square cove serifs. For use for text and display typography. Due to its open letterforms and big number of styles the face is a good companion to open humanist Sans. Hybrid design was awarded special prize at Kyrillitsa'99 international type design competition.

One More Typewriter font is a monospaced typewriter font in two styles: Regular and Italic, and two weights: Regular and Bold. This makes it versatile and ready to use in modern and vintage designs alike. This font is also very legible at a wide range of sizes and looks great in both long or short texts, in digital collages, branding and packaging, social media posts, logotypes, etc.

Say hi to my happy shadowed font. It's handmade from the heart and is very playful in a very authentic way. The good feeling Tradizional gives the viewer, definitely comes from the 5 different versions of each letter. It makes the text look so realistic, that people forget that they are actually looking at a font! Full of international characters, in order for some international fun!

From the technical hand of Alejandro Paul and the creative jungle in the mind of Angel Koziupa, comes a wild-natured script. Alma may appear slightly weathered, but still maintains a sharp and determined face. The casual strokes are at times pointed, yet ultimately playful. Released in OpenType format to expand possibilities of use with lots of alternates when used with OpenType-aware applications such as AdobeCS.

KgStuttgart1930 -- Kunstgewerbeschule Stuttgart 1930 -- is based on a printed sample of a font designed in 1930 at the Stuttgart School of Applied Arts. Found in the book ABZ, more alphabets and other signs by J. Rothenstein and M. Goodings. I recreated the grid and kept some awkward letters of this bauhaus-era inspired design. I created the missing glyphs and added alternate versions of already existing ones.

At first glance, Transcendental JNL looks like a 1960s or 1970s-era "Hippie" type face, hence its "love generation" name. However, the actual inspiration comes from a piece of sheet music from the early 1900s with Art Nouveau influences. It is often proven that what goes around certainly does come around in art, fashion and lettering. Transcendental JNL is available in both regular and oblique versions.

Retail Merchant JNL is strictly for making prices. The 0-9 keys have large numbers, the shift position of the same keys have smaller, centered numbers, and the alphabet keys have a variety of smaller numbers with underscores in single digits, pairs of numerals and even a few complete prices such as "$1.00". Thrown in for good measure are companion words... "at", "for, "each", "lb." and "dozen"...

Veneribe -the Venerable face- is an experiment in what many today might call 'grunge', though we at Greater Albion would probably prefer to talk of rustic (or if we're feeling really old-fashioned rustick) charm. It's a derivative of our Clementhorpe family, and aims to combine a battered antique look with the charm of that decorative Roman family. Regular and oblique forms are offered.

Beckinslade is a lovely elaborate blackletter face, released just in time for Christmas, but useable at any time of the year. It is in the best traditions of Victorian Gothic revival, drawing inspiration from a range of sources and marrying them into one homogenous whole. The emphasis is on aesthetics rather than historical accuracy. Great fun though for anywhere ‘ye olde’ look is desired.

Stompedwide is a modern/futuristic and minimal looking typeface that surely will give your designs unique look and catch the eye of the reader. It works very well in projects such as logos, banners, magazine headlines. Since It's a display font It works best at big scale and It's not suitable for longer texts. It pairs nicely with modern, geometric fonts such as Montserrat. 2 weights available

It's here! Lumbering down the grassy slope towards us, the lovable round sans serif of KNICKNACK. It's warm, it's smooth, it's round and it's fuzzy. It's perfect for display use, print, posters, branding, packaging or kids friendly apps and web! KNICKNACK is a typeface that will put a smile on your face. It features 2 styles, regular and fuzzy and comes in at least 5 weights.

This is my latest release : monmica family - a set of three multilingual, handwritten stylish copperplate calligraphy fonts. The files listed here are containing 1118, 1229 and 2018, glyphs respectively. There are many open type features: fancy swashes, alternates, ligatures, contextual alternates, fractions etc. - all easily available at the click of a mouse. Those fonts allow for creating text in majority of languages where Latin script is used.

This font set was developed for the Albright-Knox Art Gallery and their 1999 Monet exhibition, Monet at Giverny: Masterpieces from the Musée Marmattan. Monet Regular is a fairly straightforward script font with an undulating thick and thin stroke. Monet Impressionist is a semi-legible script which can be used for decorative rather than communicative purposes. Monet Sketches features 26 icons related to Monet's imagery.

Lingkari Heart is a new vintage handwritten font. This font is perfect to be applied especially in logos, packaging, headlines, posters, t-shirt/apparel, greeting cards, wedding invitations, and other project. As you can see at the previews, this font has unique swashes that allows you to create beautiful lettering in a snap. Lingkari Heart has many stylistic set alternates that you can choose from.

For the font design project, I had decided to make a typeface which would reflect the style architectural of Zaha Hadid. My purpose was the presentation of a font to her as Zaha Hadid was alive during my project process. But nearly at the end of the project we unfortunately received the death news of her. Her life wasn't long enough to see the project completed.

Tektype has been designed as a one weight display don't font which makes it simple and easy to use, it has been specifically created for the designer to do very little customisation. Tektype has additional alternates which makes it versatile in use. Create Logos and unique identities, aimed at the tech industry this font can create a slick look and feel to any branding.

Inked Balterm is a hand-inked typeface with a humanist touch. It provides visual interest through the contrasting elements of the thin strokes mixed with the solid ball terminals. The placement of each ball terminal is varied and placed at the most defining point of interest and distinction in each letterform; creating an appealing visual rhythm. Great for display and works in smaller text settings.