Introducing "Camaro" - a dynamic and high-octane racing display font that embodies speed, excitement, and adrenaline. Camaro showcases a strong and sleek design that mimics the aerodynamic lines of racing cars. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

New Lincoln Gothic is an elegant sanserif, generous in width and x-height. There are twelve weights ranging from Hairline to UltraBold and an italic for each weight. At the stroke ends are gentle flares, and some of the round characters possess an interesting and distinctive asymmetry. The character set supports Central Europe, and there are three figure sets, extended fractions, superior and inferior numbers, and a few alternates, all accessible via OpenType features. Back in 1965, Thomas Lincoln had an idea for a new sanserif typeface, a homage of sorts, to ancient Roman artisans. The Trajan Column in Rome, erected in 113 AD, has an inscription that is considered to be the basis for western European lettering. Lincoln admired these beautiful letterforms and so, being inspired, he set out to design a new sanserif typeface based on the proportions and subtleties of the letters found in the Trajan Inscription. Lincoln accomplished what he set out to do by creating Lincoln Gothic. The typeface consisted only of capital letters. Lincoln intentionally omitted a lowercase to keep true his reference to the Trajan Inscription, which contains only magiscule specimens. The design won him the first Visual Graphics Corporation (VGC) National Typeface Competition in 1965. The legendary Herb Lubalin even used it to design a promotional poster! All this was back in the day when typositor film strips and photo type were all the rage in setting headlines. Fast forward now to the next millennium. Thomas Lincoln has had a long, illustrious career as a graphic designer. Still, he has one project that feels incomplete; Lincoln Gothic does not have a lowercase. It is the need to finish the design that drives Lincoln to resurrect his prize winning design and create its digital incarnation. Thus, New Lincoln Gothic was born. Lacking the original drawings, Lincoln had to locate some old typositor strips in order to get started. He had them scanned and imported the data into Freehand where he refined the shapes and sketched out a lowercase. He then imported that data into Fontographer, where he worked the glyphs again and refined the spacing, and started generating additional weights and italics. His enthusiasm went unchecked and he created 14 weights! It was about that time that Lincoln contacted Bitstream about publishing the family. Lincoln worked with Bitstream to narrow down the family (only to twelve weights), interpolate the various weights using three masters, and extend the character set to support CE and some alternate figure sets. Bitstream handled the hinting and all production details and built the final CFF OpenType fonts using FontLab Studio 5.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Kota datoma an luxury and unique calligraphy font. Carefully designed to work together in harmony that makes it perfect for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires unique, formal or luxury. Try Kota datoma, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily. Included Multilingual Support And Special Ligatures Your download will include OTF format files. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows)

Andit is an unique calligraphy font. Carefully designed to work together in harmony that makes it perfect for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires classics, formal or luxury. Try Andit, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily. Included multiligual support and special ligatures Your download will include OTF format files. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows)

The vikings searched in vain for hundreds of years over much of the northern hemisphere, but their dreams of writing with felt-tip pens went unfulfilled--until now! This is a novelty font containing the 24 runes of the Futhark, but with a modern bent. In addition to regular, bold, oblique, and bold oblique, we have included two outline styles. Also included is a PDF page identifying the characters.

Bugatine is a captivating handwritten monoline signature script font. With its graceful curves and fluid strokes, this font exudes an air of elegance and sophistication. Bugatine perfect for branding, logos, invitations, and more. Let your words dance across the page with this mesmerizing font that effortlessly captures the essence of hand-drawn beauty.Handwritten, Handwriting, Script, Monoline, Signature, Vintage, Stylish, Calligraphy, Wedding, Logo, Fashion, Feminine, Magazine, Branding, Elegant

Migueto is a serif typeface with ligatures also complete multilingual glyphs. Migueto come with Regular style, it will make this typeface can be used in all design projects and works perfectly for pairing with script typeface or handmade fonts, Headlines, Posters, Packaging, T-shirts, Postcards, Invitation, Wedding Sign, Sign Painting, Signboard, and much more. Try Migueto, enjoy the richness of OpenType features and let her fun and elegant excitement make you happy and enhance your creativity! You can use this font very easily. • Multilingual Support And Special Ligatures If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows)

Technical Stencil VP is the stenciled version of Technical Standard VP and the two typefaces can be used either on their own or together seamlessly. The initial inspiration for their design came from examining the various types of precisely machined labels on tools from cameras to cars, which need to be perfectly legible at all sizes. The unique streamlined look such processes achieve was carefully reinterpreted and the resulting fonts are at the same time robust and stylish, both universal and unique. Technical Stencil VP includes ten distinct styles, offering great versatility. All styles in this family include an extensive Latin character set, the Greek alphabet, multiple sets of numerals, a large set of punctuation marks, and other symbols. With 1120 glyphs in each style, it guarantees full support for all Latin languages. To make the family even more powerful, twenty OpenType features are included, such as multiple vertical positions, diagonal fractional forms, optional slashed zeros, separate old-style and lining figures, small capitals, and contextual alternates.

OCR-A was originally designed in 1968 as a machine-readable alphabet. Its functionality was its most important element, instead of its design. Over the following decades, the typeface has become popular in the design world nevertheless. But typographically pleasing results are often hard to come by, due to the original design’s “non-design design”, as well as its undeveloped character set. In 2006, Miriam Röttgers revised and extended OCR-A, creating OCR A Tribute. OCR A Tribute is a typeface family comprising of two versions: one in which the glyphs have been proportionally-spaced, and another that is monospaced. In the monospaced version, all glyphs have the same width, like the letters in the original OCR-A font do. Both versions of OCR A Tribute contain complete character sets and expert glyphs, as well as lining and old style figures. Now you can rest easy, and finally use this classic design for display purposes and headlines!

The story of Serena is a unique one among revivals. Serena was neither a metal face nor a film one. In fact it never went anywhere beyond Stefan Schlesinger’s 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger’s Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger’s brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger’s spirit as closely as the drawings permit, and elaborately expands the work to cover a multitude of codepages and languages. It took more than 65 years for Schlesinger’s drawings to see the light, so van Maanen made sure to bring them to life stylishly and respectfully. Serena embodies the peace and calm rarely ever found in mainstream calligraphy or other genres of display type. With upright elegance and a slight Eastern touch, this typeface expertly bridges the gracefully casual with the deeply spiritual. The light and soft letter forms add a pleasant, breezy element to anything they touch. When used sparingly in titling or display, Serena is like a sigh of desire, rare but quite memorable and very appreciated.

The very first Speedball-Lettering Book was published in 1915, and within its pages was a rough-hewn example of lettering with the name "Rapid Sho-Card Style". The design is now available as Antique Show Card JNL, in both regular and oblique versions.

Cyrillic (and Latin) poster font is limited in composition by uppercase. Monumental, dry, ascetic. Designed for the design of posters, title pages of projects, signage, book covers, building facades. It is formed based on architectural and drawing fonts. It combines Russian traditions and modern trends. The shape of the letters varies from round wide to oblong narrow, in this contrast lies the idea of the font. At first glance, this contradictory decision finds harmony with closer acquaintance.

This wood type revival is a rare specimen, indeed. Audebaud is a charming and bold 19th Century Clarendon of French lineage. With its rounded terminals, and unique proportions; this font will instill a joie de vivre in any design. The design was inspired by the work of Constant Audebaud. Audebaud was an engraver of wooden type that was used for posters and the like. His work appeared in the 1880s in the Deux-Sèvres département of France.

Looking for a modern and extravagant font that is easily memorable? In the sea of similar designs, something unconventional but tasteful will certainly put your brand on the map. Introducing Fagelyne - A Modern Elegant Font. Use this font for promotional material, ads, web pages, apps, clothing, printed material, and anything else you need to make your brand shine. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Song ASC is a Traditional Chinese family with Big 5 support. Song ASC features a serif stroke style. The Song ASC font character set supports Latin-1 and Traditional Chinese (code page 950).

Qeuliner is a font with a modern, sporty, and futuristic design. Carrying the form of oblique blocks separated by vertical lines. Very suitable for use on sports-themed displays, racing, games, space, etc.

Comicraft first created this font, based on the unique European lettering style of Ladronn, for the Marvel X-book CABLE in 1998. It was later upgraded for THE INHUMANS mini-series, and modified again for the HIP FLASK mini-series in 2002. In 2018, we Remastered it for the new LOST IN SPACE series from Legendary, with improved spacing and kerning, an additional Bold weight, and our patented Crossbar I Technology to automatically place the crossbar I in the right spots.

Klute references stylised forms of writing; historic Germanic, blackletter letterforms and graffiti and tagging. Its references are based on a personal idea of lettering - the action of writing is more personal and human than the craft of calligraphy or the mechanics of typing. These references suggest the idea of saying something particular and personal.

Pendry Script is the work of British designer Martin Wait, a typeface that emulates all the spontaneous hand-crafted qualities of a highly skilled lettering artist. It should be set closely whether capitals are used alone or with the lowercase alphabet. The fresh, informal style of Pendry Script is ideal for powerful, eye-catching headlines.

The pages of vintage type foundry catalogs yield so much wonderful type design and artwork. Found within their pages are hundreds of classic text and display faces alongside delicately engraved cuts as well as print shop borders, ornaments and embellishments. These books are treasure troves of their respective times, and Typesetter Ornaments JNL preserves some of that art in digital form. Redrawn from this source material are twenty-six basic design elements that include corner pieces, end pieces, pointing hands, spot illustrations and other designs. Also included are old style parentheses, brackets, an Rx (prescription symbol), two cent signs and a few extra elements located on the number keys and their caps shift counterparts.

Quavo is a round sans font family, including regular and oblique font styles. Round corner of letters show the soft and friendly vibe and some letters for instance: letter a, b and d, they all have a tail at the end. It's sort of personal preference, for I want to add some ornamental elements in this font. Quavo can be applied in lots of areas. Including but not limited in titles, posters, book pages and big display canvas.

Octo is square bold/display font with italics. Letterform is bit quirky and square shaped, it can fill all kind of spaces. Octo has nice form that relate to industrial, machines and italics helps denoting speed. Octo is good for branding in fields of sports, automobile. It has full glyph set of numerals and signs. Octo is an excellent choice for headline-typesetting and logo design. Octo is developed by Gunjan Panchal based in India.

An online display of pages from a book on wood type fonts provided an example of a bold, eccentric slab serif design with unusual curves and letter shapes. This font’s eccentricities became the basis for its name, Eccentric Wood Type JNL – which is available in both regular and oblique versions.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family. Bembo® Book font field guide including best practices, font pairings and alternatives.

Dorriss girls were the dancing troop at the Moulin Rouge. I had the idea for this font while trying to come up with an alternative to beveling. I thought it would be interesting to create this sort of stepped effect as I've never really seen this treatment on a font before. Then my need to create chaos shows up again with Doriss Girls informal. A hand drawn take on the forms. This seemed like it would appear on an old art nouveau poster by the great Toulouse Lautrec, so there you have the genesis of this font. I've been somewhat compelled by the letterforms so I may expand and create a more normal version of this font someday with a range of weights. That would be the bees knees.

In Northern Sumatra, the crystal clear waters of Lake Toba lap gently against the surrounding mountains. In the middle of the lake sits the island of Samosir, for centuries the secluded home of the Batak people. Visitors arrive by ferry into the tiny town of Tuk Tuk, escaping the heat and humidity of the Sumatran jungle. Throughout the village, restaurants and guest houses are adorned with hand-painted signs in bright colors. Perhaps due to Sumatra's long history of European colonization, the letterforms are reminiscent of those used for posters and handbills in America and Europe at the end of the 19th century, but with a distinctly Southeast Asian flavor. Charles Nix, intrigued by the combination of Victorian fancy and Batak arabesque, photographed, sketched and translated the letterforms into a design that is now ITC Batak. Named for the proud ancestors of Samosir's inhabitants, it is a bold condensed letter with hexagonal serifs - a sort of properly dressed grotesque. Batak is available in either Condensed or Condensed Bold.

A display fontface for titles inspired on Latin America, Ethnic, Native, Tribal, Mysthical, Handmade, Aboriginal, Pre-Hispanic, Pre-Columbian, Textured. By mid-1997 I was developed the early type edition was called «Muisca Sans» as my work for the degree in Graphic Design (Universidad Nacional de Colombia), based on the concept of pre-Columbian figures characteristics within some of the very few visual elements recovered from the Muisca culture, ancient pre-Columbian tribe disappeared before the arrival of the Spaniards in what is now central Colombia. In fact, the name of the capital Bogotá (the capital of Colombia) goes back to Bacatá as primary or village downtown of what was once the imperial capital of tribe Muisca. Although this unfinished early typographic project has not yet been published, Tequendama is the evolution of the first one. Tequendama reminds the myth of Muisca culture and religion of this tribe. The god Bochica, a wise old man with a white beard heard the cries of his tribe suffered against flooding of their land losing harvests before the divine punishment resulted by the offended god Chibchacun. However Bochica appeared wearing a white robe sitting on a huge rainbow and he broken the mountain towards the southwest wise old man with a golden staff broke the mountain to drain the flooded savanna. This emblematic and iconic place would later be called as «Salto de Tequendama». Tequendama name also been adopted to a nearby province to Bogotá.