Introducing "Moodie" - Your Retro Hand-Drawn Playful Font Bring a splash of retro playfulness to your designs with "Moodie," a font that exudes the charm of hand-drawn lettering. This font is your ticket to a whimsical journey back in time, perfect for posters, invitations, and branding projects that crave a touch of playful nostalgia. Key Features: Retro Hand-Drawn Whimsy: "Moodie" captures the whimsical essence of retro hand-drawn lettering, infusing your designs with a joyful spirit. Playful Vibes: Each character dances with a playful energy, making "Moodie" the perfect choice for designs that seek a lighthearted and retro aesthetic. Why Choose "Moodie": Craft posters that radiate a joyful retro vibe. Design invitations that set the stage for a celebration of playfulness. Establish a brand presence with a font that combines the charm of the past with a modern twist. Download "Moodie" Now and Infuse Your Designs with Retro Playful Vibes!

Imperial Insignia is a serif font that celebrates power and grandeur. The name refers to something related to a kingdom or empire, creating an image of a strong and authoritative font. “Insignia” in this name refers to the subtle details in the font design that make it unique and easily recognizable. It is a symbol or sign indicating status or membership in a certain group. With its strong and authoritative character, and unique details that make it stand out, Imperial Insignia is an ideal serif font for projects that require an elegant and formal touch. From business branding to wedding invitation design, this font adds a touch of elegance and professionalism to every project. Imperial Insignia is specifically designed for the luxury market, making it a perfect choice for designs related to jewelry and luxury goods. With Imperial Insignia, you’re not just using a font, but you’re also conveying a message about strength, grandeur, and individuality.

The drawings, for what is now Triplex Italic, were done in Iowa City in 1985 by John Downer. The italic was originally conceived as a companion for another typeface being drawn at the same time called Arcatext, which (like Triplex) could be described as a "humanist sans-serif" having simplified character shapes constructed mostly of geometric parts. At one stage, a certain customer was interested in Arcatext but wanted a different italic drawn for it, so the plan for the italic took another direction and the idea for this one was dropped. Five years later, Emigre decided to commission the abandoned italic as a digital typeface in three weights as companions to the Triplex Sans and Serif families designed by Zuzana Licko in early 1990. The ascenders and descenders have been shortened to match those of Triplex and the new capitals embody more of the features that distinguish the lower case, but otherwise the digital version closely follows the original drawings. See also Triplex OT.

Futura is THE prototype of a geometric or constructed linear sans serif and the font most commonly font of its kind used to date. Futura, very much influenced by the Bauhaus movement in Germany, was designed in 1927 by Paul Renner. Although being around for almost 90 years, Futura seems eternally young and fresh which also explains its continuous popularity with designers and typographers. Futura simply means efficiency and functionality documented by both its many usages as corporate type (e.g. Volkswagen, formerly IKEA, Vuitton, Shell, formerly HP, SMA and many more) as well as in various famous film projects (e.g. Kubrick, Anderson etc.). Futura’s iconic status was probably established when it walked on the moon with the Apollo 11 crew in 1969. It was used for the lettering of the plaque that was left up there. Now, URW has expanded its range of Futura styles by Futura Round with 14 additional styles.

A hand-made retro script font duo inspired by 80s action movies! This hand-made, retro styled script font was born from a childhood watching countless 80s action movies. Stories of inspirational heroism and competition, all set against impossibly beautiful Summer sunsets. And no self-respecting 80s movie would be without the coolest title design, setting the stage with a seemingly spontaneous glide of the designer’s brush. Endless Sunrise aims to capture this spirit through it’s loose, hand-drawn design and complimentary sans-serif. It comes with a complete set of alternatives and underlines for true customisation, meaning you’ll never have to repeat an E or an I; the tale-tell signs that give away other script fonts. It also features uppercase and lowercase characters, along with numerals, punctuation and language support. An awesome font that will work equally well across film, sports, music, merch and more! Find more from The Video Store Collection at Wingsart Studio

Serat is a medium contrast flared serif with mixed up styles of classic typefaces which is highly influenced by early stages of Latin based hand writing. The lowercase are modernized versions of Carolingian minuscules, vertical stems which touch the baseline have been modified to have horizontal cut for simpler look and keep the calligraphic style for terminals & stroke ends. Then the uppercase are flared serif which were influenced by Roman inscriptional capitals. The font name was taken from the Javanese word "serat" which means writing (noun). It comes with some unique features, such as: - Carolingian style alternate for some letters (a,e,f,g,t), also comes with separated stylistic set for long 's', and long left leg 'x' and alternative ampersand. - Discretionary ligatures for all caps titling. - Standard Ligatures. - Tabular and Proportional for both Lining and Old-style figure. - Fraction with Nominator and Denominator. - Superscript and Subscript for numbers, etc. Serat would be suitable for "classic" themed work; poster, book cover, branding, videography, etc.

Birch was designed in 1990 by Kim Buker Chansler, who based her forms on the designs of the turn of the 20th century. The new age needed new typefaces for an ever-increasing commerce and its advertisements. This time period therefore saw a profusion of new typefaces, all of which were meant first and foremost to catch the eye of consumers. To this end, style elements of past ages were reused, changed, and combined. Birch is modelled after a woodtype, a style made famous by its use on wanted posters in western movies. The narrow and space-saving Birch is perfect for headlines in display point sizes.

Acre is a geometric sans-serif type family of eight weights that's both inspired by and named after my great grandfather, Tex Acre. Tex was an artist and sign maker whose handcrafted signs illuminated the roadsides of the American Midwest and typified mid-century Americana. Acre is a tribute to him, his work, and many of my favorite early 20th century geometric typefaces. With eight weights ranging from Thin to Black, Acre is an extremely versatile family that can be used for display, text, or anything in between. Acre offers full European language support plus many OpenType features such as tabular and oldstyle figures.

Romeria Notes is a handwritten font that captures the genuine essence of a signature. This natural script font, with its fluid and seamless strokes, seems as if it's been directly lifted from a personal notebook. Each character is crafted to mirror the effortless elegance found in an artist's autograph, making it a perfect choice for projects that require a touch of personalization. The cute and charming style of Romeria Notes brings a delightful and engaging feel to the text, while maintaining a beautiful and coherent appearance. The font exudes an organic flow, reminiscent of writing done in a state of inspiration and spontaneity. The font is built with advanced OpenType functionality and guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more automatic and manual features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Designed by Mans Greback, Romeria Notes stands as a testament to his creative expertise in capturing the essence of handwritten elegance. This font not only communicates messages but also conveys emotions, making it an ideal choice for projects that seek to connect on a more personal level.

Neo Contact is the typeface used on the packaging of Marlboro cigarettes (Marlboro “Reds,” the main line of the brand). The typeface is bold and condensed, designed in the Egyptienne style. Egyptienne types were first designed in the 1800s, as type founders - especially in the westward-expanding United States - began to dream up newer, bolder styles of letters for advertising usage. During the 1800s, it became increasingly important for businesses to set themselves, and their products, apart from competitors. This desire has remained with corporations, as well as with advertisers and designers, into the 21st century. In addition to cigarette packaging, Neo Contact (as part of Marlboro’s branding efforts) can be seen on numerous items, including Ferrari’s F1 racers, and at Formula 1 race tracks. The letters in Neo Contact are filled with personality. Their forms display two distinct weights of line, and the serifs are made up of tiny, strict slabs. Ball terminals round out the design. Neo Contact is a complete font, with a complete western character set. Typefaces in the Egyptienne style preceded the development and distribution of larger, crazier wood typefaces, but also share many similarities with these descendents. More traditional, text faces in the Egyptienne manner are also available from Linotype GmbH (e.g., Adrian Frutiger’s Egyptienne F). On the opposite end of the spectrum, we offer interesting, personality-filled wood display types, like Ponderosa as well.

The typeface Raw Street Wall is designed for the Typo Graphic Design font foundry from 2011–2017 by Manuel Viergutz. A playful display type for headlines with a street-art graffiti-style by hand. Rough-look plus state-of-the-art automatic generated OpenType-features (like contextual alternates (calt)). 567 glyphs with extras like emoticons/icons, arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. Multilingual support with 27 languages. Have fun with this font & try the DEMO-FONT (with reduced glyph-set) FOR FREE! Example of use It’s your turn … for example ever­y­where where it makes sense. Maybe for use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Tech­ni­cal Specifications ■ Font Name: Raw Street Wall ■ Font Weights: Regu­lar + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 567 gly­phs ■ Lan­guage Sup­port: 27: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Zulu ■ Spe­cials: Extras like emoticons/icons, arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters plus OpenType-Features. ■ Design Date: 2011–2017 ■ Type Desi­gner: Manuel Vier­gutz ■ License: Desk­top license, Web license, App license, eBook license, Ser­ver license

CHARACTERISTICS A state-of-the-art OpenType-Feature (like Contextual Alternates (calt) and Stylistic Alternates (salt)) of “Hand Scribble Sketch Times” is, that each uppercase and each lowercase letter has automatically alternated two variations to bring humanly-random characteristics of handwriting to life. The cha­rac­ter of the rough, ruggend and raw hand­written classic serif type­face is a very uni­que warmly atmosphere. An pro-version of the font “Hand TIMES”. APPLICATION AREA warmth, love, handmade. For support of human warmth. Of cooking recipes, menus in the restaurant across party flyer, music cover Art to logo (word marks), headings in magazines and websites. TECHNICAL SPECIFICATIONS ? Font Name: Hand Scribble Sketch Times ? Font Weights: Regu­lar, Rough, Invert ? Font Cate­gory: Grunge Serif Dis­play for Head­line Size ? Font For­mat: OTF (Open­Type Font for Mac + Win) ? Glyph cover­age: 601 ? Lan­guage Sup­port: Basic Latin/English let­ters, Cen­tral Europe, West Euro­pean diacri­tics, Bal­tic, Roma­nian, Tur­kish ? Spe­cials: Alter­na­tive let­ters, Standard & Discretionary Ligatures, extras like sym­bols, ding­bats, Old-style Digits, Lining Figures, accents & €, incl. OpenType-Features like Con­text­ual Alter­na­tes (calt), Glyph Composition/Decomposition (ccmp), Dis­cre­tio­nary Liga­tures (dlig), Kerning (kern), Stan­dard Liga­tures (liga), Nume­ra­tors (onum), Ordi­nals (ordn), Sty­listic Alter­na­tes (salt), Stylistic Set 01 (ss01), Stylistic Set 02 (ss02), Stylistic Set 03 (ss03), Slas­hed Zero (zero), Lining Figures (lnum), Tabular Figures (tnum), Old Style Figures (onum), Proportional Figures (pnum) ? Design Date: 2013 ? Type Desi­gner: Manuel Vier­gutz

Have you heard? It’s in the stars: next July we collide with Mars! But until then, there are plenty of good reasons to treat yourself to this swell typeface. LiebeLotte Swell is a great investment for letter lovers who design beautiful things for their friends and family and also for designers who love their clients: Your next birthday invitation? Check. That photo album you’re making for your mom? Check. The business cards you’re designing for your friend who runs a deli? Check. There are so many nice things that want to be designed, and LiebeLotte Swell wants to be your assistant in the old-fashioned way: polite and friendly. Just like her monolinear siblings in the LiebeLotte family, charming LiebeLotte Swell knows how to impress with her perfectly drawn curves and her perfectly connected loopy letterforms. Of course LiebeLotte Swell comes with a state-of-the-art character set. She also sports a variety of ligatures and alternative forms, available through OpenType features. (Please make sure your software supports ligatures for the letter connections and OpenType if you wish to use the advanced features.) Advanced designers, check out the complete LiebeLotte family with six weights of monolinear loopiness. You may also want to take a look at our best-sellers LiebeErika and LiebeKlara, they get along great with LiebeLotte Swell.

Entendre Rough defies the conventions of most distressed typefaces, as it is an actual text typeface family. Sure, you can use it for your big display type, but you can also use it for body text. Entendre Rough is a stately, commanding and handsome distressed sans serif typeface family that pulls reference from Trajan capitals, the history of English calligraphy, and a variety of other sources to summon a sense of warmth, consideration, trust and authority. Entendre Rough spans 22 weights and styles including Regular and Condensed versions. The large x-height and refined characteristics of the family lend the family a sober and sophisticated appearance that is suitable for both print design and on-screen use. Entendre Rough includes Central and Eastern European language support as well as Western European language support, including Greek and Cyrillic. Entendre Rough’s generous x-height and medium-length ascenders and descenders offer pronounced readability, making the family useful for text typesetting both in print and on screen. Within, humanist elements are tempered with monumental construction, making the heavier weights go-tos for display design work. All of the Entendre Rough family of typefaces feature Western, Eastern and Central European language support alongside nuanced Greek and Cyrillic. Entendre Rough pairs well with our non-distressed Entendre family and our rounded sans serif family Elpy, sharing similar proportions and spacing.

From the standpoint of calligraphy, a font family of capitals and uncials makes perfect sense. The Roman square capitals, the quadrata, are matched by round capitals of older Greek origin; the word "uncus" means hook-shaped like a beak or talon. Interrelated and often interchangeable, these capital letters served as book hands for both the Latin West and the Greek-speaking East before they evolved into minuscule alphabets. The Testament family is based on the few formal capital manuscripts of the Bible, Virgil and Homer that have survived from the ancient world. Throughout the Middle Ages both uncials and square capitals were used, often together, for headings and initial characters. By their nature the Roman capitals are the voice of Caesar and hold the place of authority, while the uncials speak for the Church in a balanced relationship. In ancient times church and state were not as separate as they are now, and the alphabets were not as different as typographic tradition has made them. In this calligraphic rendering it is clear that they are of the same substance and can be written in the same style, conveying even to the modern eye the eternal and classical quality of epic and scripture. Testament comes in all popular font formats, and includes support for a vaster-than-usual range of Latin-based languages.

Forget that hipster coolness for a minute and design something cute and charming with LiebeLotte! Go ahead and make beautiful things with her: birthday cards, wedding invitations, love letters, new signage for your deli—so many things look sweeter when you use this well-crafted handwriting font. We’ve put all of our heart and soul into this typeface—it took us a whole year to draw, refine, and interconnect all these loopy letterforms. We hope it’s really hard to tell that this is a typeface at all—the perfect connections and many swash variations make it look like you actually sat down with a pen. A pretty good pen in fact. LiebeLotte comes with a state-of-the-art character set. She also sports a variety of ligatures and alternative forms, available through OpenType features. (Please make sure your software supports ligatures for the letter connections and OpenType if you wish to use the advanced features.) Advanced designers, please take a look at our best-sellers LiebeErika and LiebeKlara: the all-new LiebeLotte makes a great companion for these popular fonts. We do think you’ll have plenty of fun with this versatile package of loopy letters for letter lovers. Or lovely letters for loop lovers. And hey, you can absolutely use LiebeLotte to make happy hipster designs, too! Promise!

Joost Schmidt?s (1893?1948) name is undoubtedly connected with monolinear condensed letters of geometric appearance ? his unfinished draft of a stencil alphabet, constructed on grid paper in 1930, is much lesser known. These modular shapes simply consist of half circles, quarter circles and square strokes with half-round terminals. From just six original letterforms (a, b, c, d, e, g), Flavia Zimbardi completed Schmidt?s draft and extended it to a full character set for contemporary use, adding upper case letters and different figure sets including old-style. Joschmi overcomes legibility issues usually associated with this stencil style, with special attention to the design of white space. Zimbardi lends the face even more character by carefully adding round terminals in subtle spots of the alphabet, accessible through stylistic sets.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

Ragtag is an adventurous display font that’s fun, graphic and loud. The font features three irreverent, geometric variations for each letterform, plus a few extra goodies like eñes and diacritics so it’s ready to use En Español. Ragtag creates harmonies from the fully interchangeable collection of letters. Each letter is unique and designed so it composes beautifully with all others — but can also stand on its own as an accent piece or as part of a design. Ragtag is inspired by the scattered crew of makers and designers from design studio In-House International--a fully remote creative home based in Austin, TX. The design of Ragtag was led by Alexander Wright and digitized by Rodrigo Fuenzalida.

Chet was inspired by the lettering on the signs of American diners and gas stations in the 1950s and 60s. It is not a mere reprint of nostalgic signage letters, however. This typeface retains the boldness, uniqueness, and strength of this era, while adding a modern touch that makes it feel comfortable to use today. It is highly readable even from a distance, making it perfect for signs, posters, and website headers. Chet can also be used as a base for creating logotypes because of the unique forms of the a, n, and r. The typeface is named after Chet Baker, the jazz trumpeter who was active between the 1950s and 1970s.

Designed by Arthur Baker in 1994 for URW, Kigali is a wide-bodied display type with bold, uneven, pen-drawn strokes that taper dramatically downward. This unusual theme creates a unique, recognizable look. Furthering the effect, the Kigali typeface family contains additional decorative design fonts, one with a zigzag pattern filling the spacious strokes, and another with the letters in black squares for use as ornamental initials. The regular and italic versions include two alternate faces: one with long, tall ascenders and regular-length descenders, and one with shortened ascenders and descenders that allow it to fit where its companion might not. Use Kigali sparingly in display advertising, labels, flyers, and other incidental work.

Josephine, named for Josephine Baker, the legendary dancer of the 1930s, is a twenty first century sans serif typeface that harks back to the earlier part of last century. Although very modern, it has been greatly influenced by the many art deco fonts produced during the twenties and thirties of the twentieth century.In it I have tried to capture the art deco spirit in a modern humanist font. Josephine is exceptionally readable and yet completely characteristic of the Art Deco period. It can be used for text passages as well as display in posters, advertising, labels and packaging. It is professionally finished and contains all upper and lower case characters as well as all special characters, punctuation and symbols.

As a successor of Didots famous font, which marked the beginning of modern typography, the Monceau has inherited the spirit, elegance and sophistication of french style, although in a revamped design, typical for the first years of the 21st century. Liberated from its serifs and with soft and round small letters the Monceau approaches ornamental typography and thus perfectly lends itself to being enlarged: it’s a font that loves to be closely looked at. Its name, lent from the famous parc Monceau in Paris, evokes and reinvents in a modern graphical way all of the Parisian chic at the end of 18th and the beginning of the19th century (the time Didot was born), the French Revolution and Empire, the architecture of this business quarter and notably the arabesques of the monumental gates still present in our times.

All Ages is a true punk rock font. It has the same look and feel that you see wrapped around a light post telling you where the next show of your favorite band will be. All Ages will work with any of your headline, in your face, stylized design needs and it looks great BIG or small! For a customized look to your works, switch between uppercase and lowercase for a change of grunge to the letters, italics are also available. You can also use All Ages in layers if your background is a little too busy by using All Ages Letters on top of the All Ages Ripped Paper, you can even use All Ages Letters on it’s own for an alternate look. Each font includes a character set large enough to support you international punkers with multilingual characters.

Temet Nosce - Serif font family - Multilingual - 6 Styles Temet Nosce Serif font family help you develop your creative projects with its 6 styles and multilingual supports. It was inspired by the famous saying from ancient Greek mythology. The characters that make up its structure were influenced by the carved letters in the old stone inscriptions. According to ancient Greek and Roman authors, there were three maxims prominently inscribed upon the Temple of Apollo at Delphi: "know thyself", "nothing too much" and "give a pledge and trouble is at hand". Their exact location is uncertain; they are variously stated to have been on the wall of the pronaos (forecourt), on a column, on a doorpost, on the temple front, or on the propylaea (gateway). The date of their inscription is also unknown, but they were present at least as early as the 5th century BC. Although the temple was destroyed and rebuilt several times over the years, the maxims appear to have persisted into the Roman era (1st century AD), at which time, according to Pliny the Elder, they were written in letters of gold. This font comes with uppercase, lowercase, punctuation, symbols and numbers, ligatures and multilingual supports. Ideal for books and magazines, editorials, headlines, websites, logos, branding, advertising and more. This font family can meet your needs in all creative projects, modern and classic. With this font you can create your unique designs. Have a good time.

PF Stamps covers a wide range of applications which require the stamp effect. This is a form of lettering which was very popular in the mid-twentieth century for product labeling. Special machinery was developed by mainly two companies, one in the United States and the other in Germany. This machinery produced paper die cuts which were later used as a base for the marking with a paintbrush. PF Stamps Paint was developed to simulate this type of lettering. Two other styles, Metal and Flex, have been very popular since its original release. The first one was developed from a metallic stamp imprint, whereas the second one with its slight 3-D look simulates letters stamped on plastic. To insure realistic results, uppercase letters are different from lowercase. This is very useful when two similar letters sit next to each other. There 3 more styles: Solid (the stencil in its regular clean form), Rough and the very interesting Blur. The all new “Pro” version comes to complete this series with what was missing: 93 matching frames and frames parts which will satisfy the most demanding designer. This is a bonus font which is available only with the purchase of the whole family. Use these frames “as is” at any size, or connect the frame parts to each other to create longer frames. Finally, this series supports more than hundred languages which are based on the Latin, Greek or Cyrillic scripts.

Ghost Sign JNL is a spurred serif type design based on the faded lettering of an antique brick wall sign for Homer Hardware [located in Homer, NY] and is available in both regular and oblique versions. From Wikipedia: “A ghost sign is an old hand-painted advertising sign that has been preserved on a building for an extended period of time. The sign may be kept for its nostalgic appeal, or simply indifference by the owner. Ghost signs are found across the world with the United States, the United Kingdom, France and Canada having many surviving examples. Ghost signs are also called fading ads or brickads. In many cases these are advertisements painted on brick that remained over time. Old painted advertisements are occasionally discovered upon demolition of later-built adjoining structures. Throughout rural areas, old barn advertisements continue to promote defunct brands and quaint roadside attractions. Many ghost signs from the 1890s to 1960s are still visible. Such signs were most commonly used in the decades before the Great Depression. Ghost signs were originally painted with oil-based house paints. The paint that has survived the test of time most likely contains lead, which keeps it strongly adhered to the masonry surface. Ghost signs were often preserved through repainting the entire sign since the colors often fade over time. When ownership changed, a new sign would be painted over the old one.”

The late-19th-century Prussian-American printer and publisher Louis Prang, the “father of the American Christmas card”, was well-known for his efforts to improve art education in the United States. He published many instructional books and even founded a training school for art teachers. One of the books he published included a series of alphabets for sign painters, lithographers, illuminators, architects and civil engineers. There was nothing truly original there — in the book’s preface, Prang says that the alphabets were “based on foreign forms and adapted for American taste”. The one alphabet that caught my attention in that book was one simply called “Italic”. It’s a high- contrast modern, a Didone really, but with an interesting little twist: the lowercase is almost entirely connected, which makes for an interesting mix of modern typography and classic calligraphy. That stuff is right up my alley now. Whenever my eyes happen on a modern, it’s easy, even almost impulsive for me to envision swashes coming out of serifs and terminals. The caps melt and the minuscules dance with them. And so I brought my vision to life. Prangs is an italic set of three weights, each containing more than 1400 glyphs with plenty of OpenType features and Latin language support. This set celebrates the convergence of three centuries of fancy display alphabets. These fonts should work wherever moderns are used to elevate and scripts are used to appeal — namely today’s branding, packaging and glossy publications.

Michiana Pro is my new, hand-crafted connecting script! I've been hand lettering cards and envelopes to my wife and family in this type style for years and decided it was time to make a font based on it. I typically start with a single thin stroke for each letter, then build up the weight of the heavy stroke, so there ends up being a lot of charming variations in terms of style and color. The overall finish is rough, yet friendly. Perfect for invitations, place cards, love notes, and with its large x-height, it sets nicely for text. I grew up running around the dunes and beaches along Lake Michigan in northwest Indiana, and I think the shoreline and dune grass has inspired my aesthetic. Michiana Pro takes the name from a small area along the lake between the Indiana and Michigan state lines. There are a lot of nice, modest homes nestled in the duneland forests. Thinking about what it's like back there, it's like having a bowl of steaming hot comfort food. So I hope Michiana Pro feels that way to you too. Michiana Pro features include: + extended character set for Western European language support + 1,205 glyphs + lowercase beginning and ending swashes + contextual initial and final letterforms + alternates for L, R, Z, f, g, p, t and y + 140+ ligatures + superior and inferior figures for unlimited fractions + ordinals (st, nd, rd, th) + 4 ornamental swashes + available in both OTF and TTF formats

The Greek font started from an experiment with designing fonts based on a geometric grid. I joined the points on the grid with straight lines to form the various characters and found that this resulted in a font that closely resembled Greek writing (derived from inscriptions carved in stone) of ancient times. I continued to develop this theme but I now accentuated the look and feel of Greek writing. The three styles shown are the results of this development. I did not kern or letterspace the individual letters since this would have been out of character with the orignal Greek writing. This means that the font is mono-spaced. At a later stage I may produce more refined and "modern" versions of these fonts. Surprisingly, the Greek SCF styles are very readable. The font is fully professional in terms of its character set. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). In fact, it has all the accented characters used in the major European languages.

Discover the effective simplicity of SP Honey Bunny, a masterfully crafted display font created in 2023 by Studio Pulp. Inspired by the character Honey Bunny, the partner of Pumpkin in the cinematic classic "Pulp Fiction" (1996), this font, while not taking center stage, exudes a striking presence. This remarkable typeface, designed with meticulous attention to detail and craftsmanship, showcases versatility that seamlessly complements various design projects, particularly excelling in titles. The three well-balanced weights provide the freedom to unleash your creativity, while the clear, open forms optimize readability. SP Honey Bunny, anchored in a clean grid design, embodies modern minimalism and accessible elegance. Whether you're working on web design, graphic design, or print materials, this font adds a touch of timeless class to your creations. Be inspired by the seamless blend of functionality and aesthetics in SP Honey Bunny. Specifically crafted to meet the demands of 2023, this font brings a contemporary flair to your projects while remaining true to Studio Pulp's legacy of dedication to quality and innovation. Transform your typographic landscape with SP Jody and leave a lasting impression.

Introducing “QERUNG Font” – Where Handwriting Takes Center Stage. QERUNG Font is the embodiment of handwritten artistry. With its captivating handwriting theme, this font adds an authentic touch to your creative projects, making it the perfect choice for those seeking the genuine charm of handwritten script. Whether you’re designing invitations, posters, or branding materials, QERUNG Font effortlessly captures attention and infuses your designs with the character of real handwriting. Crafted with meticulous care, QERUNG Font exudes the warmth and uniqueness of handwritten script, forging an instant connection with your audience. Its versatility knows no bounds, making it suitable for a wide range of applications, from heartfelt notes to personalized branding. QERUNG Font elevates both readability and style with its graceful strokes and fluid lines, providing a natural and appealing look to your text. It also offers support for multiple languages, ensuring it resonates with a global audience. Elevate your creative projects with the authenticity of QERUNG Font. Explore this exceptional typeface today and bring the genuine beauty of handwriting to your designs. – PUA Encoded Characters – Fully accessible without additional design software.

Galvantur Grand is an uppercase-only display font, intended to be used for attention demanding titles and headers, or generally any form of text that needs to take center stage. An offshoot of the Galvantur font, Galvantur Grand takes things one step further towards the extreme, to really give your design projects that special flair. Characterized by the double lines and negative space between them, this powerful font can make any form of text stand out strongly. The multiple styles included can further help customize your designs and projects, to get the perfect feeling you're going for. Comes in 7 different styles - Regular, Oblique, Light, Light Oblique, Outlines, Light Outlines and Oblique Outlines. To get an idea of the various styles, please check out the images or use the preview field to type in text. Galvantur Grand supports Latin and Cyrillic based languages. IMPORTANT: This is an uppercase-only font. Typing out lowercase characters will look exactly like typing out uppercase ones. Furthermore, it is recommended that this font is used with bigger sized text.

With its slightly rough edges, Thumbnail Text works well where lettering is required. Letterforms wiggle a bit here and there but are generally quite uniform. Characters are a bit imprecise - but not showy or bouncy. They appear more adult-looking than childish and are very legible. Put Thumbnail Text to work as drafting notation or on blueprint projects that need to be easily read. It¹s also useful when concept or sketch stage lettering needs to look serious but not highly stylized. You might experiment with it inside cartoon thought balloons or in callouts. This design is based on an old showcard style from the 1940s. It's been dusted off and reissued for modern use. A lowercase has been added for greater functionality. Thumbnail Text Regular is now available in the OpenType Std format. Some additional characters have been added to this OpenType version as stylistic alternates. This advanced feature works in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

fj Platz Groteske™ is the new font from frncojonastype project that culminates after almost 5 years of learning and development. fj Platz Groteske™ is a Neo-grotesk font with slight geometrical proportions with humanistic terminations. For this occasion, this font will show the normal version, however, the entire project contemplate condensed family, extended and the development of alphabets as Cyrrilic and Greek. This proposal is to improve the legibility in the Neo-grotesk fonts with generous gaps, vertical and square counter form and ascendents that exceed slightly the capitals. Counts with old numbers, small caps, modern numbers, tabular, numerators and denominators to fraccions, reference numbers to notes and formulas to face confidant and complex different stages. Ideal to editorial projects of informative content - scientific and titular of a huge impact because of the various alternative characters, stylistic options and a optometrical version to risky designers. To exclusive licenses and to follow the develop of this project, please visit frncojonas.com (WIP) Learn about upcoming releases, work in progress and get to know us better! Instagram: @frnco.jonas

Gotta tell ya: think out of the box and this font is addictingly fun to use! Introducing Historic Warehouse, a substantial, yet elegant family, invoking advertising fonts of the early 20th century. Why the name? When asked to design a banner for Tucson’s Historic Warehouse District, I couldn’t find the look I wanted from any known fonts. After drawing what I wanted in Illustrator, there were three (and in the process, four) fonts just waiting to be realized. Happy to oblige. Here’s Historic Warehouse Regular, setting the stage. It’s sturdy, bold, and plays curves against rounded angular shapes. To its left is Historic Warehouse Condensed, trim, elegant and at its best at very large sizes; to the right is Historic Warehouse Wide, with charming style and presence. Finally, there’s Historic Warehouse Extended, extravagant in its proportions, with a beautifully-crafted form like a fine carriage. As the song says, “Everything Old Is New Again,” and this family looks as fresh and clean at the beginning of this century as it might have at the beginning of the last.