SATURDAY CHAMPAGNE is a monoline modern calligraphy script. Perfect for titles, headings and logotypes for blogs, ads, quote prints, home decor, book title, invitation, birthday, custom product, lifestyle imagery (like quotes and stuff). This font is written by the amazing hand letterer and fellow artist of mine, Leah Chong, and is a collaboration project. The character set contains Western and Eastern European accents and extra characters, symbols and the following open type features: Ligatures: ff ll oo rr th tt ty Finals: b c d l g p y z Instagram: @leahdesign @rolandhusedesign https://leahdesign.sg https://rolandhuse.com Awesome background image for main poster by Simon Buchou from Unsplash https://unsplash.com/@simon_buchou Background mock ups for Girls Night Out and White Sea Cosmetics are from graphicburger.com http://graphicburger.com The Quote "Reality aligns with your mindset" is my favorite and is from Matt Lopez from the Lambo Goal podcast, picture is taken and photoshopped by me. Thank you I hope you like this font & good luck with your project! Roland

Black History is a handwriting script font to express personal, artistic nuances and is made in brush designs to produce casual and natural displays. The thick letter weight will show bolder impressions and emphasize the desired elements in the design. Combination of low contrasts, when the bright and the dark parts of the letters are not very significant, will create smooth effects. Unlike the other handwriting fonts, Black History’s letters are not always interconnected to each other. Furthermore, you can apply this font for big text sizes to be greatly legible and also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Black History fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. 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.

Your corporate design project is one of the factor of the business where you can attract the customers and get their first impression. Make the moment count by making it as stand out as your business. With Clearstone, you can showcase a delightful yet fancy viewing experience that may powerfully highlight your values and communicate well with your customers. Clearstone is a script font that resembles the actual handwriting style. This font is elegant, readable, and has a timeless quality that never goes out of style. Furthermore, this awesome font has fascinating features that allows you maximize your design. Features: Stylistic Sets Ligatures Multilingual Supports Numerals and Punctuations PUA Encoded It is perfect to be used for many design projects, such as poster, logo, book cover, branding, heading, printed product, merchandise, quotes, social media campaign, etc. Learn more about how to use it by seeing the font preview. Thank you for purchasing our fonts. Please don’t hesitate to contact us, if you have any further question or issues. We’re happy to help. Happy Designing.

Introducing Jode, a new elegant display serif font that is perfect for creating luxurious and sophisticated designs. Inspired by luxury serif fonts used in display covers, we combined it with an elegant typeface style to create Jode. With a lot of options and alternates, you can make great display combinations for lettering. Jode is ideal for logos, headings, covers, posters, quotes, product packaging, headers, merchandise, social media, greeting cards, and more. This font is versatile and works well with various design themes, especially those that require a touch of luxury and elegance. Jode comes with OpenType features that include many alternates and end swashes, which can be accessed using programs that support OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign, and Corel Draw. Additionally, Jode supports multiple languages. The Jode font package includes files, making it accessible to anyone with a font-compatible device. It features uppercase and lowercase letters, OpenType alternates and ligatures, numbers, punctuation, and symbols. Get Jode and elevate your designs to new heights of elegance and sophistication.

Introducing "Lafonsa," a new serif font that combines stylistic typography with unique alphabet lettering and serif typography style. With a wide range of options, you can create stunning letter combinations for lettering. Lafonsa comes with open type features that offer a vast selection of alternates and end swashes to enhance your lettering. It is ideal for various purposes, including Logotype, heading, cover, poster, logos, quotes, product packaging, header, merchandise, social media & greeting cards, and many more. Additionally, Lafonsa supports multi-language use. To access Lafonsa's alternate glyphs, you will need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, and Corel Draw. In the zip package, you will receive Lafonsa in otf, ttf, and woff formats, with features that include uppercase and lowercase letters, opentype alternates and ligatures, numbers, punctuation, symbols, and multilanguage support. Overall, Lafonsa is an excellent choice for anyone who wants to create stunning and unique designs, and it is perfect for all your design needs. Its versatility and high-quality design make it a valuable addition to any designer's toolkit.

AmpleNu is a display type family derived from the Ample typeface. It has optical mono-linear stroke and a bit squarish form in nature. It has a seamless stroke movement instead of sharp angles formed by the junction of two strokes, which is a prominent feature of its design. It is designed to be a little eye-catching yet legible. It has clear and distinguishable letterforms, which helps to elaborate and emphasize the message. It is graphically strong and commands the viewer's attention. The overall appearance of type is suitable for setting and using it as heading, title, headline, logotype, etc. The type family consists of sixteen styles which include eight upright weights and their italics. AmpleNu has a bit more squarish counters and angles than Ample typeface, it even has straight terminals while Ample typeface has a slight curve. In addition to this, few characters have some major or minor changes and the letter ‘g’ plus ‘y’ and their respective diacritics have alternate style variations. AmpleNu is designed by Aakash Soneri during the period between 2018-2020.

This extensive 60-font type family was inspired by the best (and worst) of 1970s science fiction TV shows and movies. Verbatim aims to extract the essence of futuristic type from that era, add a dash of modern style and conjure a cinematic typeface for the 21st century. From the extremes of the thin condensed, all the way through to the black extended, Verbatim has the scope to add drama to your titles and headings, and finesse to your logo and branding projects. Distinguishing features include a large x-height and open counters that aid legibility. This typeface crosses a few boundaries of type specification in that it is both rounded and square, it is part geometric in construction with a touch of humanistic flair and stroke contrast – giving Verbatim a distinctive and confident air. Key features: • 6 weights in Roman and Oblique • 5 Styles – Condensed, Narrow, Regular, Wide, Extended • Small Caps and 7 Alternates • European Language Support (Latin) • 600 glyphs per font. See more detailed examples at the Verbatim microsite.

Introducing the stunning and sophisticated Grinda font, an elegant serif typeface inspired by luxury classic covers and combined with modern typeface style. With 534 glyphs and 359 alternate characters, Grinda provides an extensive range of display combinations for lettering, giving you endless design possibilities. Grinda comes with a variety of OpenType features including alternates and end swashes, making it easier to create beautiful and unique lettering. This font also supports multiple languages, making it versatile and accessible for designers around the world. Perfect for logotypes, headings, covers, posters, logos, quotes, product packaging, headers, merchandise, social media, greeting cards, and much more, Grinda will elevate your designs to the next level of elegance and sophistication. To access the alternate glyphs, you'll need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, and Corel Draw. In the zip package, you'll find the Grinda font files in OTF, TTF, and WOFF formats, and it comes with uppercase and lowercase letters, as well as numbers, punctuation, and symbols.

Doing your design work in magical way? Yes, please. With Against Perfection you can boost your design performance to the max. Against Perfection is a brush script font combined with a pleasing serif font. This pairing of script and serif offers just enough sensuous curves for appealing design result. Together, these complementary fonts convey modern and elegant looks. The swoosh and brush style details make the whole word look custom-designed. On the other hand, the serif font has a nice, solid weightiness combined with smoothed-off shoulders. Further more, this font has fascinating features that helps you maximize your design. Features: Alternates Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuation It is perfect to be used for many design projects, such as poster, logo, book cover, branding, heading, printed product, merchandise, quotes, social media campaign, etc. Learn more about how to use it by seeing the font preview. Thank you for purchasing our fonts. Please don’t hesitate to contact us, if you have any further question or issues. We’re happy to help. Happy Designing.

Have you ever missed something in creating a pretty design and thought of adding your magic touch to it? Margita is more than just a script font as it expresses luxury and elegance in each character from which you will increase your sales and leave the best impressions. This font has great legibility and thickness level options to make it more special. As a result, you have more freedom of how and where you will use it. Include 8 different weight fonts: Margita Hairline Margita Thin Margita Light Margita Light Margita Regular Margita Medium Margita Semi Bold Margita Bold Features: Multilingual Options PUA Encoded Numerals and Punctuation Margita fits best for various designs, such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, and more. Find out more ways to use this font by taking a look at the font preview. Enjoy your experience with this font and feel free to contact us for further product information or trouble complaints. Thank you for purchasing our font and happy designing.

A smooth contemplative Antiqua with aspiring to the sky ascenders, inspired by the Quietism philosophy. Clarity of the mind is achieved by bringing the body into a state of calm and contemplation, and this is reflected in the design – the quiet horizontal serifs (body) are opposed to the peaky soaring ascenders (mind). The design also features four optical size subfamilies with different x-height and contrast, oldstyle diagonal stress, oldstyle figures by default, smooth details and slightly dark texture. Variable axes: Weight, Contrast, X-Height. Scripts: Latin, Greek, Cyrillic. Languages: 480+. The complete list of supported languages: michaelrafailyk.com/quietism Kerning: 4553 class-to-class pairs. Hinting: Not applied. Format: TTF – OpenType with TrueType outlines. Variable Font: Quietism Variable provides more options than static versions, and has three axes: Weight (Thin–Black), Contrast (Low-High), and X-Height (Low-High). Variable fonts includes thousands of styles that you can access using a sliders on graphic editor or via CSS on web browser. Mixing different axes gives you extra styles not represented by static fonts. Optical Size: The typeface is represented by four subfamilies: Text (low contrast, high x-height – for paragraph 10-20 pt), Deck (medium contrast, medium x-height – for subheading 20+ pt), Display (high contrast, medium x-height – for heading 72+ pt), Poster (high contrast, low x-height – for big size 120+ pt). Small Caps: Lowercase letters and Oldstyle Figures are replaced with Small Capitals forms. Capitals to Small Caps: Uppercase letters, all figures, and some punctuation are replaced with Small Capitals forms. Case Sensitive Forms: ()[]{}‹›«»-–—•·#%‰@ and Arrows are centered on capitals. Oldstyle figures are replaced with Lining figures. Oldstyle Figures: 0123456789 #%‰. Designed to work with lowercase letters. Used by default. Lining Figures: 0123456789 #%‰. Figures are the same height as uppercase letters (cap height). Proportional Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Tabular Figures: Lining, Oldstyle, Small Caps, Capitals to Small Caps. Ordinals: adehnorst. Superscript, Subscript, Numerator, Denominator: 0123456789. Fractions: ¼½¾⅐⅑⅒⅓⅔⅕⅖⅗⅘⅙⅚⅛⅜⅝⅞⅟ (precomposed). Any other fractions (even those typed through a slash) will also be displayed correctly, with the automatic replacement to Numerator + fraction + Denominator. Slashed Zero: All 0 figures. Contextual Alternates: Number sign character (#) before uppercase letters is replaced by its version centered on capitals. Hyphen character (-) between two uppercase letters is replaced by its version centered on capitals. First of two TT letters is replaced by its alternate form. Letters vwy before the letters fijmnprtuvwxy are replaced with an alternate shorter versions that fits better in the context. Contextual Alternates (Greek): ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps and Small Caps modes. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Stylistic Alternates: FTГТИЦЩцщ and their versions with diacritical marks. Stylistic Set 01 “Arrows”: Left <- Right -> Up Left Right <-> Up Down North West South East \> South West Stylistic Set 02 “Round-Square Cyrillic”: ДИЙЍЛФвгджзийѝклнптцчшщьъю characters are replaced with its Bulgarian or Russian forms. Stylistic Set 03 “Cyrillic Tse Shcha short tails”: ЦЩцщ characters are replaced with its alternate form with short tail. Stylistic Set 04 “Cyrillic I full serifs”: ИЙЍӢ characters are replaced with its alternate form with inner serifs. Stylistic Set 05 “FT bent inward serif”: FTГ characters and their versions with diacritical marks are replaced with its alternate form with right head serif that bent inside. Stylistic Set 06 “Small Caps centered on Capitals”: Small Caps are vertically centered on uppercase letters. Standard Ligatures: fi fl fb ff fh fj fk ffb ffh ffi ffj ffk ffl. Discretionary Ligatures: Th ct st. Localized Forms: 52 character substitutions for Azeri, Bulgarian, Catalan, Dutch, German, Kazakh, Macedonian, Moldavian, Polish, Romanian, Serbian, Tatar, Turkish. Glyph Composition/Decomposition (Diacritics): Full Latin and based Vietnamese set of diacritics (571 characters). Precomposed.

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

Introducing The Loud & Proud Bobby Jones Font Collection Inside you'll find 16 quirky handcrafted fonts, oozing with personality, ripe and ready to take center stage within a variety of creative and fun design projects. If you're looking to grab eyeballs with an ad campaign, a logo design, apparel, printed stationery, and all that other good stuff, then worry not. Bobby has you covered. We all come with imperfections and Bobby is no exception! His outlines are slightly off, his corners are irregular, his straights aren't straight, but he's cool with it. In fact, he's too busy strutting his stuff. - What's Inside? Each of the fonts listed below boast multilingual glyph ranges and their own individually handcrafted outline style! (16 fonts in total!) - Bobby Jones - The original Bobby.J - Bobby Jones Soft - A rounded version of the above - Bobby Jones Condensed - The thinner and leaner sibling to Bobby Jones - Bobby Jones Condensed Soft - A rounded version of the above - Bobby Rough - A high-res textured version of the original - Bobby Rough Soft - A textured version of Bobby Jones Soft - Bobby Rough Condensed - A textured version of Bobby Jones Condensed - Bobby Rough Condensed Soft - A textured version of Bobby Jones Condensed Soft Designed a little over five years ago, the original Bobby Jones Font was my first ever product. This new and improved version has been entirely redesigned from bottom to top. Holding dearly to the punch that the original had, while adding a whole lot of extra power. I hope you enjoy the Bobby Jones Family as much as I do and have, and as always if you have any questions or comments, please do not hesitate to get in touch. I'd love to hear from you. (tom[at]tomchalky.com)

I hate the idea of revivals. I have publicly said I choose not to do revivals because they make me uncomfortable. This is as close as I have been to crossing my own line. To be direct, Rhythm is based on the ATF typeface, Ratio (I just recently learned the foundry of origin). I came across this typeface from a printed specimen years ago when I was in school and held onto it. It was unique and I loved how well integrated the inline worked within both the flourish and serif of the glyphs—it was old, but not, reminiscent, but fresh. My specimen was limited in the glyph offering (it was c. 1930ish) and I realized a lot would need to be done to ‘finish’ it and bring it to contemporary expectations. I didn't want to do ‘retro’ and tried to avoid the visual trappings associated with it. What I did want to do is interpret what I had in the specimen and reinterpret it digitally, refining its construction and extending its typographic equity along the way. The ‘One’ and ‘Two’ (and their matching ‘Solids’) styles diverge providing various elaborations that coordinate well between rigid bracketed serifs and compact tails. I further expanded the glyph offering to include a full diacritic set, old style numerals, fractions, stylistic alternates, swashes, titling alternates and controlled flourishes that adhere to the efficient framework of the script. And yes, I refer to it as a ‘script’ because calling it a ‘cutesy serif’ seems wrong :) I hope this is seen less as a slavish revival and more as a championing of a really unique typeface. The Original Typeface was Adastra, designed by Herbert Thannhaeuser for the Foundry D. Stempel AG in Frankfurt, Germany.

Eyadish is an entertaining, comic, and childish font. The name of this font is originally derived from two main syllables. The first one is "Eyad-" which refers to my first name and the second syllables is "-ish" which means characteristics of or relating to. Hence, "Eyadish" refers to the characteristics that "Eyad", the typographer, himself has and had during his childhood. I do like this font for its childish and comic shapes. I have decided to design this font trying to leave a humble and personal imprint regarding the magic and innocent world of all children. Frankly, it is my most favorable designed font. This font comes in two different weights with facilities for writing and publishing in different alphabets included in various Latin and Cyrillic texts and scripts. "Eyadish" is primarily designed to be fit with all prints of kids, children, and juveniles' products. It is major usage is in advertisements and publications. It is suitable for T-shirts, books' covers of children such as fairy tales and comic stories, advertisement light boards in malls, and titles in parental, childish, comic, and other related magazines. "Eyadish" also can be printed in many children's products such as garments, towels, shoes, socks, toys, pacifiers, diapers, exhibitions, festivals, books titles and contents, medicines' packages, kindergartens' signs, buses, comic and TV series, kids and children organizations and charities names, images, software, foods including milk cans, candies, chocolates, and other related products. The font is extremely and distinguishably attractive when it is used with various, and vivid colorful letters and words in posters, cards, and placards. "Eyadish" is specifically designed for commercial, educational, cultural, and social purposes related to infants, babies, kids, and children. The main characteristic of "Eyadish" Typeface is in its childish look that remains when anyone reads or types or even deals visually with its characters.

Geonica is minimalistic geometric sans serif font with different line width. Geonica is suitable for the design on the theme of architecture, game industry, minimalism ect. Geonica includes stylistic alternates for symbols: A, E, K, M, O, Q, T, V, W, g. There are also ligatures: AA, AJ, AM, LA, LM, MA, MM, OO, VV, fi, gg, gi, gj, oo, ri, rr, ti, vv, yy.

Teksi Teksi I saw you everywhere, I just had to have you. Teksi is a marker felt style font, I’ve seen various hand drawn styles of this typeface or something similar on taxis and vans all over the island of Penang.This hand drawn style is slowly being replaced with boring Arials and other Serif printed fonts, so I wanted to capture the charm of the original. A heavily weighted font which could work for comic styles and headlines. I hope you like it.

Hartsinger is a fancy handwritten font. With cartoon vibes or notes on the book scratch, had a fun character with a bit of ligatures and fun swashes. To give you an extra creative work. Hartsinger font support multilingual more than 100+ language. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with sans or serif. Make a stunning work with Hartsinger font. Cheers, MaulanaCreative

The 1913 sheet music for "There's A Girl in the Heart of Maryland (with a Heart That Belongs to Me)" may have had no shortage of words in the title - fifteen to be exact, but it also offered some nice hand lettering in the Art Nouveau style. Maryland JNL is a condensed typeface with an unusual twist. The "S" and "G" both have spurs on them, which is reminiscent of the preceding Victorian period and the popular spurred Tuscan alphabets of the time.

A typographic treasure, originated at the end of the 18th and the beginning of the 19th century, had been brought back to life. With its charming touch it makes a wonderful font for poems, bookcovers, reprints and other historically relevant projects. To get access to all ligatures, it is recommended to activate both Standard and Discretionary Ligatures; the round s you find on the # key, and typing the combination N-o-period and activating the OT feature Ordinals gets you the numero sign.

A couple of weeks ago, I found my ink well, which I thought I had lost. I decided (there and then) to create a bunch of inky brush fonts, which resulted in Dirrrty and Scrawny Cat. And now, needless to say, Garden Bed. It is named after a strophe from one of my favorite Soundgarden songs: Just Like Suicide. Garden Bed is a hand made didone-ish font, with a very irregular baseline, some interesting glyphs and a secret garden filled with diacritics.

Dharma Gothic P font family is designed based on Dharma Gothic and a distressed offshoot from the original. The glyphs that damaged by printing the original had been tweaked by hand work with great care. This family contains basic Roman, Italic, Bold and it’s Italic to suit a wide range of creative works. g, r & y have their alternative glyphs that can be used with OpenType salt feature. This font will be one of the most powerful solutions for printing and web.

The Zapf Dingbats originally had been a selection of 360 symbols, ornaments and typographic elements from over 1200 designs. (For the first time a lady's hand is shown for the index symbol, the fist). The exisiting Zapf Dingbats offers a small selection out of this great offer. Therefore Hermann Zapf created new symbols for the set of the Zapf Dingbats, which are available today from Linotype as "Zapf Essentials?" 6 fonts with new and fresh symbols like fax, cell phone and internet symbols.

Inky Fingers… Well, the name says it all! This rather obese font was made by hand (literally) using my index finger, some sheets of paper and a lot of Chinese ink. As the eco-paper absorbed quite a lot of ink, I had to do a second ink-run! Inky Fingers is a very legible typeface, ideal for headlines, books and posters. It comes with Babylonian language support - including the Schwa/schwa glyphs for the Azeri speaking crowd. Ain't I nice?

This typeface was inspired by Gering and Remboldt's work during the late 1490s. Their printing concern, the Soleil d'or in Paris, was one of the printing business to engage in the use of blackletter printing, when the rest of the Parisian printers where using humanist influenced roman typefaces. This peculiar backwards trend was really one of the original examples of "retro", taking advantage of the desires of the more conservative northern Europe that had not yet embraced the newer roman types.

An image spotted online showed a rendering of a ladies’ fashions storefront that had appeared in the Libbey-Owens-Ford Glass Company’s 1939 brochure. The signage consisted of the hand lettered word ‘Apparel’, and was done in a variant of the Art Deco stencil style of lettering that’s most recognizable in Futura Black. From these few sign letters came the inspiration for a digital font of the same name, Apparel JNL – which is available in both regular and oblique versions.

Franz Fiebiger (1880 - 1932) was an Austrian painter and designer who was associated with the Vienna Secession. In 1908 he created a beautiful poster for the Kaiserjubiläums Möbel Ausstellung - a furniture exhibition during the Kaiser's Jubilee. Fiebiger Zwei (meaning Fiebiger Two) is the second font based on one of the hand made typefaces gracing this poster. As I had to work with only a few glyphs, I designed the missing ones myself. Fiebiger Zwei comes with language support befitting a Kaiser...

A very glitzy Blitz! I always wanted to design a typeface that was top heavy, but I never knew how not to make it look like Antique Olive, until recently -- I had an idea. My new family is very readable despite it beeing top heavy, thin on the low end and thick on the upper end. The font gets a special shine because of this effect. And it stays readable despite its special design. Your designer of surprising typefaces, Gert Wiescher

Cutlass was just for fun. A year ago or so [2009, maybe], someone on typophile showed a scan of the word "Ciruelo". I liked it. Those were the only letters I had and no one ever came up with the name of the original font that I saw. It doesn't matter as I went far afield as I designed, as usual. It's just a swashbuckling bit of fun. OpenType 476 Glyphs from my usual set minus the superior and inferior figures. Enjoy!

Morris Fuller Benton's Hobo [designed in 1910] is one of a number of fonts which have been so over-used that many designers shy away from it altogether. However, Jeff Levine had often wondered what the design might look like it given a serif treatment. The result is Rail Bum JNL, named for the hobos and transients who hitched along on freight cars to ride the rails across the country during the years when trains were the mainstay of American transportation.

Popular music of the early 1900s included a genre called two step; round dances utilizing a sliding step with a tempo in either march or polka time. 1911's "Daughters of the American Revolution" was one such march/two step. The cover of the sheet music had the title hand lettered in a slightly rounded sans serif type design in the Art Nouveau style popular during that era. It is now available as Two Step Nouveau JNL, in both regular and oblique versions.

This humanistic sans serif design was inspired by a conversation that David Quay had with renowned type designer Hans Meyer, during ATypI in Paris, 1989. Meyer revealed that Sabon, designed by Jan Tschichold, was the inspiration behind his Syntax font. This approach formed the basis for the design development of The Foundry's very first sans serif typeface family; the inspiration for Foundry Sans comes from Stempel Garamond. Foundry Sans was the second typeface to be released for The Foundry typeface library in 1990.

For this Byzantine Empire calligraphy font, I had to work for 2 weeks and 3-4 hours a day and search the internet. It made me very tired, but I finally finished it, and it was good. This font can use both latin keyboard and greek keyboard. I also added Greek unicode characters. I will adapt this font to the latin alphabet, I will make the full character set font, this will take less time. I wish you good work.

The A.B. Dick Company was a manufacturer of mimeograph duplicating machines which produced copies by the process of transferring ink through an etched wax stencil onto paper. Customers had the option of purchasing various size and style lettering guides in order to create eye-catching headlines or announcements on their print projects. One such guide called ‘Modern Display’ featured a lettering style resembling Futura Black with added serifs. This is now available as Template Moderne JNL, in both regular and oblique versions.

Bungehuis font was modeled on the lettering found on an Amsterdam art deco building from 1931. This building on the Spuistraat, also called "Het Bungehuis", used to house offices, but is now part of the University of Amsterdam. In 2015 it had its brief moment of fame, when students, demanding more democracy at the University, occupied it. Bungehuis is a heavy art deco font and would look great on posters and in headlines. It comes with a rather democratic range of diacritics.