One of my all time favourite movies is Baz Luhrmann’s Moulin Rouge. In it, there’s a brief scene where the proprietor of the Moulin Rouge (Harold Zidler) signs away the deeds to the establishment. The actual signing of his signature is what motivated me to create this script font. Although it’s not an exact replica of the character’s hand, I like to think that it has the same crisp immediacy of the original. With its consistent oblique slant, narrow and long ascenders and descenders, and the occasional blobbing of letters, the overall effect, gives the appearance of a correspondence penned by lamplight while a storm rages outside.

What I needed in my projects was a solid oldstyle serif typeface with impact for heads. I had an old engraving font, which I’d never really finished. It happened to be built on the Minister/Diaconia base drawings I used to create Biblia Serif, so I took a shot at it. It’s wide enough to minimize the large solid ink shapes of many of the bolder display headline faces. It’s not readable, but it’s very legible. This is exactly what I needed for headlines, callouts, and special subheads. It uses the same vertical metrics of the Biblia Serif book Production Group It helps keep fiction designs comfortable

Olicana is a best selling script which was named as one of Typographica’s typefaces of 2007. It was also the very first G-Type release in OpenType, ideal for script faces as there are endless possibilities for the automatic replacement of certain character combinations with ligatures resulting in a much more ‘realistic’ appearance. Olicana is brimming with alternates, swashes and extra features like ink splats and crossings-out, not to mention the choice of using a modern or ornate styling within the same font! All of which makes Olicana the perfect choice for an authentic, rather than typeset appearance. Available in 3 variants: Rough, Smooth and Fine.

Morandi is the first commercial sans serif font created by Jovica Veljović – a much-awarded designer who's been creating typefaces for over thirty years. The product of years of crafting letterforms, Morandi is supremely graceful. Each detail has been carefully refined for legibility, with open counters and generous apertures, and the bottom of round strokes slightly flattened. Not just elegant in appearance, Morandi is an efficient design, versatile enough to work in print and digital environments, including on-screen applications. The family offers three weight ranges and includes a large multi-national character set – making it a practical choice, as well as an aesthetic one.

Vast and untamed, the American West once stretched as free and wild as imagination itself. Still beautiful, the Wild West of long ago and the new West of today is now to be found in insigne’s new face, Plathorn. That’s right, folks. When the West called, Jeremy Dooley reached up like Pecos Bill, grabbed it by the reins and pulled it in, then using its wide, roaming elements to design this functional font that still has an unbroken spirit burning deep inside. This down right, no-nonsense, orthodox face leaves off any of that extra fancy stuff that doesn't belong on a ride. Plathorn comes with a family of cowhands as wide as the Rockies, bringing specifically tailored condensed and extended sub-families along with it too. By design, it’s not very obtrusive like its unorthodox reversed tension brethren. Leave those for the next font rodeo. This mount features barely a hint of a serif that hearkens back a hundred years or so to sign painters and package lettering artists of early twentieth century. They're sure to put the sharpness, gumption and grit you need into your copy. So grab a tall glass of Plathorn and drink in the deep taste of America’s big country. Put it in your next magazine. Put it in your brand. This typeface’s offbeat appeal is bound to bring a bit of wild U.S. to your free-spirited work.

Iranica is a new creation of Naghi Naghashian. It is extremely legible even in very small size. "Iranica" is reminiscence to my birthplace and my cultural root. Iranica is a modern Sans Serif font family. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Iranica supports Arabic, Persian and Urdu. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography. It also includes proportional and tabular numerals for the supported languages. Iranica design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Iranica's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Iranica was developed for multiple languages and writing conventions. Iranica supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Grotesques can answer a really wide variety of design problems and go from small sizes to large without missing a beat. Vinila is Flora de Carvalho's take on the genre. The family’s multi-purpose intention comes from having 4 widths - from compressed to extended, each with 6 weights and obliques. Rhythm and music played an important part in the design of this font, which started off as the lettering for a Brazilian Music album. Its distinctiveness comes from having powerful ink traps that go from elegant and supple in the lighter styles to commanding and impactful in the heavier styles. A distinct rhythm is achieved, making it a strong face for editorial design, branding projects and so much more. Vinila is the ideal companion to expressive display faces, where it serves a supporting role with a marked presence. We use Vinila every day in our own brand identity. We've had some of the best designers use it and test it in many different environments, printed, digital, mobile and more (they really like it!). Also in the package, Vinila Variable is an experimental version of Vinila, where you can have a virtually infinite mix of weights, widths and slant, all from a single font file. Available when you license the complete family. Vinila pairs happily with our cheerful Manteiga , elegantly with our organic didone Tenez and mechanically with our monospaced Odisseia . What other matches can you think of?

The rounded forms found in Chennai have proven to be one of insigne's more popular designs for web-based company logotypes. Now, insigne's new superfamily Madurai takes its popular predecessor to a new level, offering a wide range of complementary fonts. Madurai removes Chennai's rounded stems and then adjusts the character width to account for its reduction in geometry, resulting in a balanced sans-serif face with humanist touches that works well for extended text. The Madurai family has a full range of six weights from thin to black and includes Condensed and extended options for a total of 36 fonts. All members of the Madurai series include a wide variety of OpenType alternates. Madurai is equipped for complex professional typography, including alternates, small caps and plenty of alts, including "normalized" capitals and lowercase letters that include stems. The face also has a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Madurai also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Madurai supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. For your next project, explore the fantastic potential of Madurai.

The characteristic ‘French face’ was originally made in 1899 under the supervision of Joseph Pinel. Thus, what was originally French 10 pt. Nº 2, got its present name. The Frenchman Joseph Pinel called himself a "typographical engineer", but was at the time employed as a type draughtsman at the Linotype Works in Altrincham. It appears that this and some other faces that he supervised, were, except for use on the Linotype, also meant for manufacturing matrices for the Dyotype. This composing machine was an invention of Pinel. The Dyotype was a rather complicated machine and consisted, like the Monotype, of two separate contraptions, a keyboard which produced a perforated paper ribbon and a casting machine which produced justified lines of movable type. Unlike the Monotype which has a square matrix carrier, the Dyotype had the matrices on a drum (in fact two drums, hence the name of the machine). A Pinel Diotype company was founded in Paris and a machine was built with the help of the printing press manufacturer Jules Derriey. As is often the case, a lack of sufficient capital prevented the commercializing of this ingenious composing machine. Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process. The result is a roman and italic, while the roman font also includes Small Caps

Mocking – Retro Groovy Font With A Childish Touch . Font is the perfect choice for projects that need a playful and quirky touch. Inspired by the groovy era of the 1960s and 70s, this font combines a fun and childish style with a hint of nostalgia. It features bouncy curves and playful swashes that will make any design stand out. With uppercase and lowercase letters, numbers, and punctuation marks, as well as several alternates and international characters, the Groovy Font is a versatile choice for a variety of projects. Whether you're creating posters for a music festival, designing a retro-themed event, or simply adding a touch of whimsy to your designs, the Groovy Font is sure to bring a smile to your audience's face. Mocking Features: · Uppercase & Lowercase · Alternates · Numerals & Punctuation · Accented characters · Multilingual Support · Unicode PUA Encoded So add a touch of groovy style to your next project with Mocking Font! If you want the SVG version please contact me. Thanks and have a wonderful day .

Roses Queen is an exquisite serif font made in uppercases that reigns with elegance and beauty. What sets Roses Queen apart is the meticulous addition of ornate details, transforming each letter into a regal work of art and bestowing a sense of opulence to the overall appearance. The characters in Roses Queen boast a commanding size, evoking a sense of authority and grace. The stability of the letter size ensures a harmonious visual flow, contributing to the font's overall sense of refinement. The real magic, however, lies in the intricately designed ornaments that adorn each letter, adding a touch of sophistication and enchantment. In addition, enjoy the features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Roses Queen fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Aure Zeritha emotes the unassuming charm of fairytale romance. The modestly adorned forms of this decorative serif font engage the reader with a subtext of innocence. Zeritha brings an ingenuous romance to text and titles and a guileless promise of adventure to astrological expressions and chartwheels. The breadth of typographic textures revealed in its bold and italic forms is given depth by the charm of its small-caps and the delight of its curly alternates. Zeritha is an original design developed by Aurora Isaac, first released in the LP glyphset in 2011. After more than a decade in development, 2018 marks the release of the CJ and KB glyphsets, available in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Aure Zeritha stands its own as a text font, but for extended text, try pairing Zeritha with its distant cousin, Aure Declare. Use Zeritha where the fairytale romance is needed; use Declare for tight text and practical contrast. Give Aure Zeritha a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

In spite of its angular appearance, Origami is composed almost exclusively of curves. Designer Carl Crossgrove derived the typeface from experiments in designing a low resolution type. The resulting face is reminiscent of Eastern European expressionist designers such as Oldrich Menhart and Vojtech Preissig. It is paired with an equally angular chancery italic. Origami works effectively for short blocks of text or at display sizes, while the capitals are especially suitable for titles.

Laureen pro typeface Laureen pro is an Arabic typeface that has a very particular appearance. It combines the characteristics of different genres; most notably the contrast of serif faces. While its design is influenced by Kufic and the Naskh style. Laureen pro consists of two typefaces, text and display, and 4-weights. It’s a perfect choice for bold headlines, oversize typography, fashion logos, branding, identity, website design, album art, covers, posters, advertising, etc.

Glastone is a modern serif typeface that seamlessly blends beauty and a feminine touch, infusing a sense of class and contemporary sophistication. Its graceful lines and modern aesthetic make it the perfect choice for projects seeking a balance of elegance and modernity. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

This willowy wonder is based on Morris Fuller Benton’s Stymie Obelisk, one in a series of typefaces he designed for American Type Founders in the 1930s. An obvious choice when real estate is at a premium, its classic forms will add just the right amount of punch to any headline it graces. Both versions include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

Howlett combines great character with extreme legibility. It's a simple display face that offers a sense of coziness and order, that speaks of all being well with the world. It is a modern design which pays due Acknowledgment to the past. An extensive range of Opentype features, including old-style numerals, terminal forms, ligatures and stylistic alternatives are included. Use it for headings and titles as well as eye catching poster work.

PT Orden™ was designed by Oleg Karpinsky in 2000-2001 and licensed by ParaType. Orden is a genuine Cyrillic typeface, it contains antique Cyrillic letter forms such as d, z, N with a diagonal stroke, symmetrical Y ,× and Ù, rare in modern typography. Another specialties: one alphabet and old style figures. Lower case consists of upper case letters except for some alternative variants of the capitals. For use in advertising and display typography.

Eleonora tends to defy standard categories. Had the typeface been designed in about 1790, it might've been called a "late transitional face" and lumped together with Bell and Bulmer. But it's a modern typeface, showing more restraint in its finer details than even Baskerville. Also noteworthy: it has no traditional, script-like italic but a more severe oblique with baseline serifs and other roman features. Has regular, italic, bold, and bold italic styles.

Sorren is a definitive bold condensed sans influenced by neo-grotesque designs. A relatively low stroke contrast complimented with sharp, horizontal stroke ends lend an unyielding appearance, while it’s rounded forms and refined curves juxtapose its inherent strength with grace. Stylistically, Sorren has a classic, timeless feel with a contemporary finish and attention to detail. It is characteristically more elegant and considerably sturdier than the typical condensed sans, lending to its singular disposition.

A set of vintage lettering templates manufactured by Albert Nestler in Germany yielded this Art-Deco flavored typeface with many unusual letter forms. Lettering templates were used for decades by architects and draftsmen prior to other advanced lettering methods to label renderings, blueprints and layouts. Although they are similar to stencils in the fact that the lettering is traced, templates are designed to produce solid lettering with the use of a technical pen.

Designed at ParaType in 1990 by Elvira Slysh. Based on Brush Script of American Type Founders, 1972, by Robert E. Smith. À popular and widely used script face. Designed to give the impression of letters written with a brush with coherent lowercase, giving a fairly black overall color. Ideal for display work and wherever an informal, handwritten style is required. For use in posters, newspapers and magazines, advertisements, signs and many other informal applications.

Candide is a neoclassical face for editorial, magazine and newspaper applications. It reflects classical archetypes and is distinguished by its elegant and sophisticated appearance. The Candide family consists of 16 styles. It comes in OpenType format and provides an extended language support. All weights contain standard and discretionary ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals, matching arrows and alternative characters.

Let Me Call You Sweetheart was one of the most popular songs of the early 20th Century, and a piece of vintage sheet music for this tune had its title hand lettered in a square, narrow block lettering style. With a few adjustments and adaptations, this led to the creation of Tall and Narrow JNL, a digital version of the type design which is a perfect alternate to the more conventional condensed faces.

Hauser Script is a freely drawn brush script typeface, which was designed in 1936 by George Hauser for Ludlow. Hauser took advantage of the slanting matrices of the Ludlow machine to create what is possibly the most informal of American brush scripts. Steve Jackaman of International TypeFounders, Inc. (ITF) digitally engineered the typeface in 1998. Hauser Script has a graceful, calligraphic look that brings class to any project at display and subhead sizes.

Amstir is a timeless classic among serif typefaces, perfectly tailored for editorial use. With its elegant lines and refined presence, Amstir brings an air of sophistication to your content. Elevate your editorial projects with the grace and tradition of Amstir's distinguished design. This typeface is ideal for greeting card, packaging, brand identity, poster, or any purpose to make your design project look eye catching and trendy. Feel free to play with this typeface!

Tactical is nothing more than a testosterone-laced typeface. Rigid, mechanical and unforgiving. Originally conceived in 2007 while I was working through the early sketches of Ginza, Tactical features hard 45-degree angles and the presence of a curve for curve’s sake is just not there. Complimenting the original is a Stencil variant (inspired by the military, marathon video game, explosion-influenced name) and matching Obliques—altogether creating a sharply coordinating family.

The universe always made me curious as to what could be found beyond earth. For the past few weeks, I’ve been staring outside my bedroom window looking at the same star. Every day at one in the morning, it shone beautifully in the cloudless night sky as I face West. That same star paved way for some inspiration to create a futuristic typeface. Every day, I watch it before it disappears into the oblivion.

Monograph conjures ancient typewriters, telephone switchboards, vintage office machines past visions of the future. As though it were drawn with the rounded nib a of a Speedball "B" style pen, the soft curves and rounded serifs speak of a gentler less complicated time. It is nuanced with traces of the Arts and Crafts movement at the turn of the 20th Century which stressed craftsmanship and preserving and emphasizing the qualities of construction and materials.

Originally ZionTrain was built as a Cyrillic typeface for public transport navigation system. We wanted comprehensible, distinctive letterforms, that can help everybody on the way from Babylon to Zion. Here, on MyFonts, we present the ZionTrain STD versions with western latin including smallcaps and oldstyle figures in some faces in TrueType format; also western, central, baltic and turkish latin charsets, smallcaps, oldstyle numerals, few alternates, some arrows and fractions in ZionTrain OT OpenType format.

The ITC Klepto™ typeface from Phill Grimshaw is a hunkered down, bulldog blunt design. It's bold, rough around the edges, and more than a little quirky. ITC Klepto's extended character set, however - which even includes Greek and Cyrillic designs - makes the face a versatile international player. Grimshaw claimed that the name "Klepto" was a natural because the design was stolen from a series of headlines he drew for an advertising campaign

It’s said that what goes around, comes around, and there’s no better proof of the saying than this typeface. Originally released as Latin Antique by the Stephenson Blake foundry in the 1880s, this face achieved renewed popularity in the 1950s, and it’s back again as, like, Coolsville, Daddy-o. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Lithuanian, Moldovan and Romanian.

Black Crow is a display sans-serif type family includes eight weights. It is influenced by the geometric-style sans-serif faces that were popular during the 1920s and 30s. The styles are based on geometric forms that have been optically corrected for better legibility. Black Crow has a functional look with a hard touch. It is manually hinted and optimized for screens, so it will be a good choice for Websites, eBooks or Apps.

An original typeface designed for ParaType in 2004 by Armenian designer Manvel Shmavonyan. Based on the lettering created in 1970s by outstanding Armenian type designer Henrik Mnatsakanyan (1923-2001) of the same name. In Armenian 'Bardi' means 'Poplar'. Extra compressed decorative stenciled typeface. Its letterforms resemble many Neo-Classicism extra compressed faces and magazine lettering of the 1950s-60s. For use in advertising and display typography especially in magazine headlines and logos.

Vestigio m. Ing. & Fr. vestige: a trace, mark or visible sign left by something as an ancient city in a condition or practice vanished or lost. Vestigia is born by lost pieces of other typography, being then, Garbancera's descendant. It evolved to be seen in big point sizes and compete with other fierce competitors, while retaining some features of it ancient predecessor, navigates a gothic fraktur experimental style, existing between legible and illegible reading.

This robust, roly-poly typeface is patterned after a 1974 release from the Ludwig & Mayer foundry of Frankfurt am Main named Big Band, and designed by Karlgeorg Hoefer. The type color is even darker than the original, and the result is a delightful face that will definitely attract attention. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

The hand-lettered signage of 1920s and 1930s America produced many typographic jewels that digital type has yet to manifest. This face is but one of them. Unearthed by Alfredo Graziani and Alejandro Paul from a 1923 Speedball lettering manual, Milk Script is a distinctive upright script that offers well-nourished majuscules and sweet-flowing minuscules. A non-connecting variation of this versatile display script is also offered for additional aesthetic control.

Eh, what's up, Doc? This cuddly little oddball of a typeface was originally released under the rather unlikely name of Hercules by the Amsterdam Typefoundry in 1926. This face includes OpenType Stylistic Alternates for b, h, h, k and l, which feature very tall ascenders with a "bunny ear" vibe. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

The thin, stylish Art Deco slab serif lettering featured on the cover of the 1934 sheet music for “Then I’ll be Tired of You” inspired the digital type face Park West JNL, which is available in both regular and oblique versions. Central Park West has always been the upscale area for affluent New Yorkers, but in the Great Depression years of the 1930s the mystique of the well-to-do held an even stronger significance.

An image of a vintage British lettering stencil set [probably circa 1960s] spotted in an online auction inspired North End Stencil JNL. The original lettering was a hybrid of both stencil and solid letter forms, but for the digital version all of the characters were given the stencil treatment. North End Stencil JNL is named after a district in London, and the type face is available in both regular and oblique versions.