With Dreadnought I go back to my roots: one of my very first fonts was a scary brush typeface called Face Your Fears - a very popular typeface with horror lovers, thrill seekers and gangsta rappers. Dreadnought was created using a stiff brush and some very high quality paint on textured paper. The result is a lively, scary and very legible font. Use it for your movie, book or album: you won't be disappointed!

International is an homage to mid-century modernist trilines. Offering contemporary, well-balanced proportions and a lack of heavily dated styling affectations, International brings a uniquely modern sensibility to the triline style. International features OpenType standard ligatures, discretionary ligatures and stylistic alternates as well as a standard set of accents and symbols to provide a versatile end-user experience. International has played hard for Nike Women's Training, Nike Running, Nike Sportswear, Target, Showtime and more.

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.

Wedding Text was designed by Morris Fuller Benton in 1901 for American Type Founders (ATF). The face was so popular that its forms soon began appearing with other font foundries under different names, Elite Kanzlei with D. Stempel AG, Comtesse with C.F. Rühl, Linotext with Linotype, etc. Its ornamental forms are not considered very legible by today's standards; therefore it should be used for headlines and short texts in point sizes 12 or larger.

The Keepsake™ family has five members that can be combined to provide a range of creative options. Rich with OpenType features including discretionary and contextual alternate characters and ligatures, and other stylistic alternates. Each face includes three options for every capital letter and multiple lowercase options. All five fonts support Latin, Eastern European and Baltic languages. Other features include four decorative elements, and optional old-style figures accessible by supporting application’s OpenType menu.

MayPole is a contemporary, 21st century, sans serif font, that contains an eclectic mix of elements from the 20th century. It combines gentle curves with base and caps-line transgressions but is substantially more rounded than in most commercial-style sans serif faces. Terminal strokes are slightly rounded and occasional elements are strongly rounded. MayPole is readable and can be successfully used for presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Great Authorized comes with natural taste of handwritten script. When you use with this font, I believe you will enjoy the sensation of the natural feel of this font, equipped with swashes and extrude features make the display even stronger for your projects such as posters, logos, advertisements, book covers and all brands for your requirement. I recommend for you to use photoshop or illustrator to make design with this font and let see when you will say WOW :) So what include when You want to use them ? - OTF - Ligatures - Numbers + Punctuation - Non-English support - Swashes - Extrude Please contact me if anything question,I'm glad to help :) Happy Designing, Haksen

CAPITALIZED, geometric, bold and round. If the typo­grapher sees a font like that, it's enough to make his toes curl. But sometimes it just has to be that way. Geometrically constructed fonts do not necessarily have to be pointed and angular; It also works consistently around. And if I say it consistently, then in this case, that's done consistently. The basis for the BOULE is the circle. The letters are drawn with constant line width, the “corners“ and endings all have the same radius, the lines are all the same thickness. The BOULE consists only of capitals. There is only one difference in the use of uppercase and lowercase letters: in the uppercase letters, the round letters are circular, while the lowercase letters are narrow. The character set of the Boule contains all letters and accents to support the Western, Northern, Central and Eastern European languages with Latin alphabet. The BOULE is not only very fat, it also runs very tight; that is, the glyphs are very close to each other. To avoid "holes" due to unfortunate letter combinations, the BOULE contains ligatures for FT, ST, TT and TZ. There are also other versions of the font: BOULE Brillant on the one hand. In this version, simple highlights simulate a light incidence from the top right. These light edges give the font a decorative effect that makes it easy to think of wet sausages or balloons in some shapes. And finally the BOULE Contour. As the name implies, it is the outer contour of the letters, combined with a shadow at the bottom left. The name BOULE (French for ball) says it already: this font is globated. Therefore, it is also very suitable for all three-dimensional alienation effects. With simple light and shadow you can achieve a very convincing 3D effect with little effort.

GummiType is a wildly wobbly and clumsy gummy/jelly style letter font. This was a weird typeface that I originally designed back in 2000 but never finished it. Coming across it again recently, I thought it would be a fun font family to get out there. Perfect for a range of designs that require a spooky or gooey-gooey typestyle. Sometimes the inspiration for my typefaces comes from random everyday things, and this is the perfect example of that. My daughter is addicted to those little peach gummy rings and gummy worms, and gummy anything, but it was my own prior addiction to gummy peach rings that inspired this font. Pulling and distorting the ring sparked the inspiration for the droopy warped characters.

Columbia Titling is a titling-caps display family based on wide Clarendon-style wood type and industrial signage design from the late-19th and early-20th Century. Columbia Titling includes a small set of OpenType features, including both tabular and proportional figures, special superscript ordinal suffixes, underlined superscript alternate letters, and OpenType fractions. Columbia Titling can have a ‘period feel’ depending on its use, but is fresh enough to use in contemporary designs, like magazine headlines, invitations, or stationery. The typeface — released in four weights — takes its name from the historic S.S. Columbia, a steamboat launched in 1903. Lettering found on the ship’s wheelhouse provided initial inspiration for Columbia Titling.

Dusty Circus™ is a five layer stacking display face designed to be infinitely morphed. The metrics are set identically in the individual and family set, to provide for typographic ease (although we seem to prefer an offset appearance). Great for a vintage western feel or a modern aesthetic. In addition, note that it is very easy to omit a layer and add multiple copies of other layers to produce a 3D bevel on the fly, or inline styles with flair and substance. LTD is a short set for non-commercial use only and combines two of the layers with many features/glyphs removed.

Black Rocketis a standout handwritten font with a touch of grunge and free look and feel. If you want to pick bold and standout font for your design, this is the font that you're looking for! This font is perfect for packaging, flyer design, event poster, event greeting,or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/

Lobster Hand is a great hand painted face. Inspired by found signage this true type font has a vintage hand painted feel and is effortlessly original. Featuring two options for every letter you can create a huge combination of typographic alternates. Lobster Hand would be great for signage, drop caps, numerals, titles, logos, packaging, menus, etc. Available in Italic and Regular.

Coronard is another of Greater Albion's explorations of 'Evolutionary' type. In this case we imagine a transition from Blackletter to Roman forms. Coronard shows that posited transition in all its simple calligraphic splendor, providing a beautifully legible face for invitations and certificates, as well as for lettering and signage that needs to be readable but to have a gothic flair.

Corner C is a part of Corner type family. This subfamily is designed with rounded shapes in the corners. The concept of the typeface Corner is based on variation of corner shapes in font characters, from what is also its name derived. The basis is a bitmap modular principle, to which by simple addition of “the missing pixels” in corners of the characters ( Corner A ) to the shape of diagonal ( Corner B ), curvature (Corner C), or inversion curvature ( Corner D ), three more font variations are created. The basic monolinear bitmap weight is supplemented by two more extreme thicknesses – hairline and fat weight. The character set supports the complete Latin, while the x-height of lowercase is drawn at the same height as in the uppercase characters. Corner is a strong display typeface, which allows you to easily experiment and to combine it with its mutual font variations.

Corner D is a part of Corner type family. This subfamily is designed with inverse rounded shapes in the corners. The concept of the typeface Corner is based on variation of corner shapes in font characters, from what is also its name derived. The basis is a bitmap modular principle, to which by simple addition of “the missing pixels” in corners of the characters ( Corner A ) to the shape of diagonal ( Corner B ), curvature ( Corner C ), or inversion curvature (Corner D), three more font variations are created. The basic monolinear bitmap weight is supplemented by two more extreme thicknesses – hairline and fat weight. The character set supports the complete Latin, while the x-height of lowercase is drawn at the same height as in the uppercase characters. Corner is a strong display typeface, which allows you to easily experiment and to combine it with its mutual font variations.

Corner A is a part of Corner type family. This subfamily is designed with square shapes in the corners. The concept of the typeface Corner is based on variation of corner shapes in font characters, from what is also its name derived. The basis is a bitmap modular principle, to which by simple addition of “the missing pixels” in corners of the characters (Corner A) to the shape of diagonal ( Corner B ), curvature ( Corner C ), or inversion curvature ( Corner D ), three more font variations are created. The basic monolinear bitmap weight is supplemented by two more extreme thicknesses – hairline and fat weight. The character set supports the complete Latin, while the x-height of lowercase is drawn at the same height as in the uppercase characters. Corner is a strong display typeface, which allows you to easily experiment and to combine it with its mutual font variations.

Corner B is a part of Corner type family. This subfamily is designed with diagonal shapes in the corners. The concept of the typeface Corner is based on variation of corner shapes in font characters, from what is also its name derived. The basis is a bitmap modular principle, to which by simple addition of “the missing pixels” in corners of the characters ( Corner A ) to the shape of diagonal (Corner B), curvature ( Corner C ), or inversion curvature ( Corner D ), three more font variations are created. The basic monolinear bitmap weight is supplemented by two more extreme thicknesses – hairline and fat weight. The character set supports the complete Latin, while the x-height of lowercase is drawn at the same height as in the uppercase characters. Corner is a strong display typeface, which allows you to easily experiment and to combine it with its mutual font variations.

Kirani is a beautiful fonts that I made with the aim to meet the needs of the industry in the creative world for those who are bored with ordinary script fonts. You can also use Kirani for your promotional needs, whether it's for logos, flyers, magazines, brochures or even for advertising. Oh yes, and this font also has multilingual support.

Jazz Trumpeter JNL is an unusual type design modeled after the title card for the 1945 movie comedy “The Horn Blows at Midnight” starring Jack Benny and is available in both regular and oblique versions. This Art Deco sans serif font has the distinction of being somewhat calligraphic, yet futuristic in its visual appearance… and even has some subtle hints of Blackletter influences.

ITC Outback was designed by Bob Alonso, a contemporary typeface with a distressed" look. It combines the rustic 1920s look of Rudolph Koch's Neuland with the proportions of a 1960s headline typeface, then roughens the edges 1990s style. The crude, rough ITC Outback is clearly intended as a display typeface but reads surprisingly well even in sizes as small as 18 point."

Dever’s brute, industrial lines are rounded up in this new typeface from Jeremy Dooley. Dever combines plenty of inspirations. It’s the flair of the Wild West melded with a shout out to the sign painters and package lettering artists of the 1800s. Dever’s big, bold, and handy frame moves through all three of the family’s strapping members. First is the sans. No doubts on what this brother’s like. Dever Sans is as straight-forward as you’ll find in this family with its four separate weights and numerous distressed options. The second of the kin’s a bit of half-breed, you might say. Pointed serifs bring a sharpness to this outfit. Rounding out the family is Dever Wedge, a bit of wild rodeo all its own. This poke’s a quick draw with any of its 107 font, and with it’s auto-replacing alternates, no two repeating characters are alike. You’re guaranteed a great show anytime Dever leaves the chute. The route to Dever was long, with many a switchback. The Wedge variant was designed first, shelved, then developed into Plathorn. But I wanted to return to those brutish forms and decided to round out the family with a sans, serif and plenty of other options. Any of the Dever family have an extended character set including Central and Eastern European languages. The strong faces have specially adapted sub-families, too, so they’re bound and determined to have an outstanding impact at whatever size you use ‘em. It’s a hard ride ahead corralling all those words. Be sure and add these able-bodied boys to your posse today!

Introduce Sigmatone Inspired by old skool graffiti tagging, and street art, we created this Typeface, drawn in Procreate app, then vectorized and crafted carefully. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. Featured: Standard Uppercase & Lowercase Numeral & Punctuation Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ Alternate & Ligature PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

Ready to enhance your branding? Looking for that “something” that’ll make your audience go WOW and clients get on board immediately? Ready to enhance your branding? Looking for that “something” that’ll make your audience go WOW and clients get on board immediately? If you need to create a big, bold logo for your business, work on a poster for an event, or whatever your project may be-then this is the perfect font for you. Walnut Candy-A Signature Font Walnut Candy is a handcrafted font designed to bring your branding to life and add a touch of elegance, modernity and style. Perfect for social media branding projects, fashion designs, printed quotes, packaging, or even as a stylish text overlay to any background image. Our font always includes Multilingual Support to make your branding reach a global audience. Features: - Ligatures - Stylistic Sets - PUA Encoded - Numerals and Punctuation Thank you for downloading premium fonts from Nathatype

Hortensia, designed around 1900 by Emil Gursch for his own Berlin foundry, is a typeface most expressive of the post-Victorian aesthetic that was all the rage in both Europe and America during the second half of the 19th century and up until the Great War. It is a reduced aesthetic of sharp points and natural curves that almost want to apologize for their own elegance, but clearly embody the simple excitement about the blossoming of industry and crafts during the period. This deco script trend would get a re-run for about a decade on either side of the second World War — especially in the entertainment and financial industries — before giving way to art nouveau and big brush faces. Hortensia was Gursch's most popular typeface, used extensively and prominently in many beautiful type catalogs, and a commonly seen design element in Germany for quite a while after its release. This digital version brings plenty of fixes and additions to the original metal Hortensia design, including many alternates sprinkled throughout the character set, and support for a wide range of Latin-based languages (including Central European, Baltic, Turkish and Welsh).

This font is for architects everywhere. This all cap font was created for use with CAD programs. It gives the handlettered look of old to computer generated blueprints. Architectural Lettering Bold is the heavier weight for Architectural Lettering. This additional weight makes a best selling font even more versatile. It has all the international currency symbols. Architectural Lettering Regular was redesigned in 2006 to include the same. It can be found in the book “Indie Fonts 3, a Compendium of Digital Type from Independent Foundries”.

Pantoufle is French for slipper. Not the flipflop variety (or thongs if you’re from Australia), but the one you wear indoors when it’s cold. I have some too; Spanish ones, made from recycled PET bottles. Here in Holland, we call them ‘Pantoffels’ and you don’t have to be a language expert to see the resemblance between the French and the Dutch word. That is because the French are probably more savvy when it comes to keeping your feet warm and the Dutch just borrowed the word, pronunciation and all! Pantoufle is a font I made with a big fat marker pen. My kids had used it to decorate some gifts for Sinterklaas (if you want to know what Sinterklaas is, look it up). Pantoufle comes with extensive language support and a full set of alternates for the lower case glyphs. Enjoy!

Maidern is a gore and death metal typeface style. Maidern is perfect for logotype death metal brands, products, merchandise death metal band, death metal band covers, rock events, rock posters, rock magazine covers, branding, product design, labels, and other creative project. Make your artwork more gore with the deadly style of this font.

A child-like font perfect for conveying a fun and young atmosphere. This font is perfect for schools, teachers, announcements for children, social media posts for events made for kids, and more! Child's Playground is meant to emulate crayon-drawn writing that captures people's eyes with the immediate familiarity of a child's penmanship.

Feel Script is based on lettering that calligrapher and logo designer Rand Holub created for Intertype for his face Monterey. Fortunately, I didn’t have the technological limitations today that Intertype had back then. Holub’s lettering is presented in its entirety within Feel Script. Some letterforms were redrawn from vintage American magazine ads (some by Holub himself), along with many new alternates, ligatures, ending forms, and strangely beautiful character combinations. The experience I’ve accumulated from my previous calligraphy typefaces (Ministry Script, Affair, Buffet Script, Burgues Script, et al.) made it easier for me to apply Holub’s lettering in a new context using OpenType technology. The usual extended treatment was given to Feel Script, all the way into the implementation of three-letter ligatures and the dreamiest swashes I could imagine. I changed some of the connections between the lowercase letters in order to fit Holub’s calligraphy as opposed to the limited Intertype metal attempt. I hope you like Feel Script. I also hope what I contributed to this particular Holub design is somewhat of a happy ending to a calligraphy story that crosses many technologies. From the pen to computer Bézier. My part of this story stops here ... and yours begins. Feel Script has more than 1200 glyphs including: stylistic alternates, contextual alternates, titling alternates, swashes, and ligatures. Check out the PDF!

Dickybird Doodles? A dickybird is an ordinary bird, not a raptor or game bird. This illustration font has 32 of them. Birds in a cage, on a wire, in a nest. A flamingo, toucan, sandpiper, cardinal, penguin, heron, chicken & rooster, hummingbird, swan. Some line, some reverse and one with polka dots.

Someone recently pointed out that May and June are the wedding season months, and that while we have some excellent fonts for non-traditional weddings (celtic and renaissance styles work well), we don't have a straightforward, elegant engraver style font. That's the kind of shortcoming we can remedy, hence our Belphebe font, which is in the tradition of popular wedding invitation fonts like Rook, but has some antique characteristics which are in the Scriptorium tradition. The kerning on this font was a real challenge, because we wanted all the characters to fit together for a flowing, hand-lettered look, but the results are worth it.

Rummaging through the toolbox recently, I was surprised by how many allen keys I had from years of assembling flat-pack furniture. After some experimenting with the keys to make up individual letters I was struck by their graphic quality. The typeface is defined by the slim, right-angled shape of the allen key; creating a geometrical, yet playful font. The typeface is suitable for logos and feature headings.

Strogino is a modern display pseudo-monospaced sans serif font. Due to the special design and some variants, all letters are easily identifiable though stuck together. It is as geometric as possible, being made with the simplest forms, capital letter sizes are exactly square. This allows to even create seamless patterns for backgrounds and watermarks. Diacritic can be added to any letter or even symbol and number, giving in total more than 1500 combinations! Strogino is perfect for logos, headings, titles, inscriptions, overlay text, backgrounds, and many more! Short paragraphs or quotes also look great with it. The font is named after Strogino (Russian: Строгино), a district in northwest Moscow, where the designer Roman Maganet came from. You can read more about making this font here.

Atlan—a Latin ‘spin-off’ of classic geometric sans typefaces. Remembering typefaces like ‘Kabel’ by Rudolf Koch, while paying attention to current design needs, was the starting point for ‘Atlan’—a simple, elegant and appealing font. This typeface is based on highly expressive sans-serif geometric fonts of the 1920s. We challenged ourselves to reinterpret these characteristics, without losing expressiveness, in order to create a functional and versatile design. This process resulted in a font with display features, well-suited for light, uniform-coloured texts. The family offers a variety of styles from the elegant Thin weight—ideal for publishing and corporate websites—to the Heavy variant (perfect for logotypes and packaging), which reveals the stylistic elements of the typeface.

Haiku is a very modern old-style typeface. Inspired by late Renaissance-era typography, and carefully optimised for both display and text, digital and print. Featuring ligatures, old-style numerals, wide language support, and true italics.

Radical Brush is a rather radical font: I made it with a really wild brush and Chinese Ink. I’d probably use it for revolutionary posters, packaging design for extreme products or for R-rated movie posters.

A biform type face, with open & closed rounded forms which give it a different appeal suitable for some interesting titling and short bits of copy. Try using it for small captions, greeting cards, logos and packaging.

Absinette takes us straight back to 19th century France. Its a decorative family of Roman faces in three widths as well as a more elaborate inline style, ideal for posters with an Edwardian or Victorian theme.