Linotype Sicula, from German designer Roberto Manella, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. It is available in two weights, regular and oblique. Linotype Sicula will quickly win over any nostalgic spirits. Ornamental and sweeping, the figures line up on the paper, their contrasting strokes and playfully irregular forms giving them an exuberant, decorative character. The careful details of each figure come to light best when used in larger point sizes. Linotype Sicula is therefore best for headlines and can easily inspire typographic experiments and its capitals can serve as initials combined with other typefaces, especially sans serif.

Sultania is a harmonic synthesis of the old characters’ suppleness and the resolute, clean design of modern typography. The rich in contrast calligraphic approach with thick and thin strokes is still visible and you can almost feel traces of ink on paper while it’s shapes in general, without serifs and any embellishments, proclaim its up-to-dateness swinging between roundness and rigor. Elegant, noble, yet still affected by traces of the handwritten script, Sultania is reminiscent of power, wealth, mind and culture. Sultania’s historical roots and it’s originality remind of oriental colors. A close Orient, at the gates of Europe, in which Latin characters are mixed with distant sounds. The Byzantium of the Sultans.

This font was inspired by the “Cancellaresca moderna ” type, which was calligraphed by Francesco Periccioli (published in 1610 in Siena, Italy). It was entirely handwritten by the designer for each circumstance, using quill pen and medieval ink on a rough paper, with added characters as accented ones and a lot of ligatures with respect for the original design. This font includes “long s” and also a lot of ligatures as “ff”, “ffi” “fij” “pp”... It can be used for web-site titles, posters and flier designs, editing ancient texts or greeting cards, or as a very decorative and elegant font. This font retains its qualities and beauty over a wide range of sizes.

Patricia Pothin-Roesch's Tendria typeface bases its letterforms on the logo for the French “Tendriade” mark. Clearly inspired by writing and hand lettering, Patricia Pothin-Roesch began her work on Tendria in Adobe Illustrator. After a few letters, she went back to designing the old-fashioned way: drawing by hand on layers of tracing paper. Tendria is a sturdy upright script face with a warm, childlike feeling. Its letters are like the typefaces often used in primary schools; the counterforms are large and open. The name Tendria is reminiscent of the French word for tender, “tendre.” Designers who set Tendria lovingly will reap rewards; this is an excellent addition to a display heading toolkit.

Acústica is a display font family designed by Carlos Fabian Camargo G. Its styles were designed to form words and phrases related to delicate and feminine contexts. Acústica Caps, Italic, Swashes and Ornaments are drawn investigations with flexible tip pen inspired by Didot capitals. All ideal for mixing with Acústica Script whose idea represents the volatile sound of a fine tip brush against rapid tracing paper. Its script path in width condensed lowercase and uppercase letters in loose horizontal proportions are generous between letters laced with long, agile and thin connecting strokes. Its script sensitivity is in Italian calligraphy with uninterrupted lines of cursive English. Acústica was selected at the Bienal Tipos Latinos 2014. Photos by http://www.desdeesteladodemimundo.blogspot.com

Apollo is oddly one of the lesser known typefaces of Frutiger, perhaps due to the extreme fame of some of his other works, like the typefaces Frutiger® and Univers®. Stylistically, the very legible and harmonic Apollo is an old face. Frutiger designed it especially for the photosetting used at the time. The Apollo typeface family consists of the weights roman and semibold and their respective italics as well as expert sets. Frutiger optimized the relation between the two weights so that the roman is robust enough to present a legible text on soft paper but light enough to contrast with the semibold. The clear, elegant Apollo is perfect for headlines as well as long texts.

Welcome to Happy Letters shop :) Happy St. Valentine's Day! Lovingly includes unique heart flourishes that give a charm and romantic love holiday mood ornaments, Valentine greeting cards, invitations, etc. Thin, elegant calligraphic lines like a light breeze give freshness and dreaminess to your handmade creations. Ornament font Lovingly is mapped to regular keyboard keys, so you don't need any additional programs to use them. Just install font, type and go! Lovingly is perfect for: decorating your albums, for holidays, logos, phrases, gift shops, Valentine's Day card, gift cards, tags, labels, stickers, wedding invitations, header images, Etsy presentations, ideal for handmade, scrap booking, printed paper items, promoting seasonal blog posts, social media posts, Pinterest, Instagram and much more.

Devoid is a sans serif typeface with a no frills stripped down design. The design has all the features of the neo grotesk typeface, horizontally cut endings, modern capitals, oval counters, with a bare bones appearance. The typeface comes in three subtle widths, Devoid Slim, which is spaced most narrowly, Devoid and Devoid Set, which have a wider letterspacing. There are regular, medium and bold weights with accompanying italics. The vertical metrics align across weights and widths, this allows for optical size adjustment as well as adjusting for same size text fit. Dutch designer Pier Taylor designed the typeface in 2020 for use in catalogs, lists and registers.

Protest is inspired by protest posters and the power of the people! Each glyph is written by hand with a Sharpie® Magnum marker on big sheets of paper. It is designed to fit more into the poster and still be legible for the media from a block away. It's bold, slightly condensed, and neatly drawn with love and conviction, with the warm imperfection that comes from being hand drawn. Protest consists of over 1,430 glyphs. This includes 300 alphanumeric glyphs with 3 contextual alternates each, 20 stylistic alternate glyphs, and 20 protest themed dingbats. Contextual alternates will rotate through automatically when OpenType features are enabled, giving it more human irregularity. Protest supports 219 latin-based languages, using Underware’s Latin Plus glyph set.

Between 1958 and 1961, Herbert Thannhaeuser developed the typeface Liberta for Typoart as a broadly conceived newspaper type which established itself quickly. Its positive adaptation by publishing houses and printing companies was based, next to its agreeable and reader-friendly general impression, also on a relatively robust typeface character which does not sacrifice its power of impression and elegance even when confronted with poor paper and printing qualities. In the 1970s, a bullish and robust design style took over the area of consumer goods which then required a corresponding advertising face. Harald Brödel re-worked the Liberta Ultra for phototypesetting, and, with great sensitivity, designed a matching cursive variation. Both types work especially well as an attention getter for advertising and for emphasis purposes.

Proudly present new our font Satnight Brush. Satnight Brush is a Handwritten Font with less texture. I made Neutral Autumn on smooth paper, so that the texture that is produced is not too much. This is perfect if you don't really like texturing fonts too much. Satnight Brush suitable for various projects such as stationery invitations, social media, logos, weddings, branding, graphic design with the addition of several binders and swashes. and can be combined with various types of serif fonts to perfect the project you want to work on. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me. Thanks for purchasing and have fun!

This is the kind of letters I drew in school back in the 1980ies. I would never have guessed that I would do the same thing like 40 years later! I remember making a simple space game for my VIC-20 computer, and I needed some "data letters" (as I called it) - as far as I can remember, this is close to what I made 40-like years ago. Also, I was inspired by the well known series "Stranger Things" - you know, all that 80ies theme stuff took me down memory lane! :) Anyway, all the letters are handdrawn, using a squared paper as guide - at it may look simple, but it took me quite some time to finish this font (hence the name!)

One look at the font Wanted brings to mind swinging saloon doors, double shots of whiskey and sheriff's badges. It belongs to the so-called Italienne typefaces which began to appear at the beginning of the 19th century. The distinguishing characteristic of such typefaces is the robustness of its serifs, which exceeds that of the base strokes. Wanted looks almost as though it were stamped on paper. Small white flecks appear in some of the strongest black strokes just as they would in a stamp which did not get quite enough ink...or are they perhaps the work of a sharp shooter? Wanted is best for short headlines and perfect for anything which should have the look and feel of the Wild West.

Boxed, the best seller of the Tipo Pèpel foundry has been expanded with variable font technology to multiply its creative possibilities, from now on and with a single file, it is possible to control its appearance thanks to three axes with which to modify the weight, the rounding and the the width of the characters. Offering more options to customize the appearance of the text and personalize the headlines. Boxed typography is brightly conceived and designed to look good on small screen devices, but offering also enlightened looks on paper. The semi-modular geometric font shapes seek to be fully responsive to the grid of screen«s pixels to deliver a crisp, fluid reading rate. It offers an extensive set of Latin characters, even the Cyrillic.

Rabbits is a super emotional hand-written font family that unites 10 different fonts. We’ve united these fonts with one common theme - childhood. Use these fonts to create any products for kids — children’s books layouts, mobile applications for children, as well as nursery interior design. We’ve given each rabbit a unique name. The names are arranged as the first 10 letters of the Latin alphabet: A — April, B — Bro, C — Chili, D — Dummy, E — Elf, F — Fatso, G— Goody, H — Hyper, I — Idol, J — Junior. Each rabbit has its own character, and you’ll definitely like Rabbits because of that. We’ve used an individual writing tool for every font. All the fonts were created on paper first and then digitized. Now, what’s your favorite rabbit?

I’m here for you with my new colored font Curled Corner! Alphabet made of letters with curled corner. It’s looks like negative space style icons. Colorful gradient note paper. Modern clean vector origami font for your stickers, crypto app, nft identity, and tags. All the letters in this font are colored brightly and vividly with corner overlay. --- *You can use color fonts in PS since CC 2017, AI since CC 2018, ID since CC 2019, QuarkXPress since 2018, Pixelmator, Sketch, Affinity Designer Since macOS 10.14 Mojave, Paint.NET Windows only.* *Please note that the Canva doesn't support color fonts!* --- What's included? * Colored and B&W styles * A-Z & Numbers * BONUS icon (ligature) set If you have any questions or issues, please contact me: kaer.pro@gmail.com Best, Roman.

This antique-aged version of Monkton can be used to imitate old letterpress printed documents such as old English text. The rough edges resemble ink spread on paper to give an old look. The inspiration for this typeface family came from my childhood experiences at Monkton, amidst an historic part of the South West of England. Studies of the original incised capitals of the Trajan column in Rome were analysed and polished for this modern version. The lower case letterforms and numerals were then created in sympathy, taking their proportions from the incised letters of local gravestones. Its name honours not only the area where the original alphabet was conceived and drawn, but also the people responsible for fostering my initial interest in letters.

This font is based on the popular and timeless Caslon design and was carefully digitized from the pages of an early 19th century book. I was excited to see some unique design treatments of characters such as the lower case italic 'p', the question mark, and various swash caps that I had never seen before. During the conversion process, I made sure to preserve the worn look of faded ink on old paper by maintaining a subtle level of decay and opacity with each character. For missing characters not found in the book, I created new characters that were faithful to the style of the rest of the family. Used as a text font, The Letterpress Text Family successfully reproduces the appearance of old letterpress lithography.

Duluth, Minnesota's Horace P. Brouillet Syndicate (later known as Syndicuts, Inc.) was one of a number of stock cuts providers to the letterpress trade in the decades preceding paper, then electronic clip art. Brouillet's "Typeps" catalogs offered a wide range of images covering numerous subjects, as well as cartoons, catch words and automotive logos. Many of these images have been reproduced in a number of royalty-free clip art publications over the years. Twenty-Six of these newly-redrawn catch words are found within Business Helpers JNL in two styles. On the capital keys are the original white-on-black designs, modeled from the vintage source material. The lower case keys have the phrases separated from the decorative ovals and are in black type.

Papercute Inline is a cute layered hand-drawn font designed by Fanny Coulez & Julien Saurin in Paris. Inspired by paper cutting, this font is easy to read, and easy to play with 8 different styles, including 3D, outline, full or dotted line, that you can use alone or together. To do so, you can simply superimpose them with a compatible software like Photoshop, then choose a color for each, making your works charming and unique. This font, finely designed for cards, book titles, headlines or any artworks is the Inline version of Papercute . Just click on our foundry name to see it! You could follow us on our Instagram: instagram.com/sc.type We hope you will enjoy our work. Merci beaucoup!

After inventing a new metal typecasting procedure that allowed for the production of more detailed typefaces, the famous German typefoundry D. Stempel AG developed Kuenstler Script in 1902 - 1903. Originally called Kunstlerschreibschrift (artistic handwriting), this design was based on English copperplate script styles from the late 1800s. In 1957, Hans Bohn added the heavy Kuenstler Script Black weight to the family. Like intricate handwriting put to paper with a feather and an inkwell, Kuenstler Script makes almost any text look distinguished and elegant. Kuenstler Script is a joining script; and because of its fine hairlines and small x-height, it is best used at sizes above 12 pt. The typeface works well in advertising work and on invitations, greetings cards, business cards, and certificates.

Esca is a display typeface designed by Jim Ford with highly compressed proportions yet with a subtle calligraphic touch. This Lite version of the typeface was designed as part of a font marathon over the course of 3.5 days in Monotype’s NY office. The design started with the aim of fitting 4 letters onto one sheet of paper and the resulting typeface keeps that tight proportion. The Esca design is mixed case and is ideally suited for logos, short headlines, and album covers. It has a great architectural feel to it that makes it suitable in signage applications and large scale settings. Monotype is proud to support Room to Read’s work in literacy and girls’ education through our font marathon initiative.

Grange Rough is an inky, distressed version of Grange that mimics the effects of vintage hot-metal type on rougher paper. Grange is the Device interpretation of the classic “Grot” thick/thin sans style. Unlike the traditional models on which it is based, Grange takes a rational, consistent approach across wide range of weights and widths for contemporary use. The font includes alternative curved and straighter versions of key characters, most obviously the lower-case ‘g' and capital ‘R', allowing the font to take on either a sharper or warmer, more playful appearance. These can be toggled on or off using the ‘Alts' feature in Illustrator, or ‘Stylistc Sets’ in Indesign. Contains proportional, lining and tabular numerals. Perfect for both headline and text.

Once upon a time, in the days BC (that's Before Computers) there lived a very talented group of men and women whose job it was to render ads by hand. So skillful were these people that some say it was possible to actually identify the typefaces that the layout artists were emulating. Their renderings were swift and slick, no time for detail as it was necessary to do a whole bunch of variations, usually within ridiculous deadlines. Their only tools: bullet-tip markers and bond paper - often mistakes resulted but no time to re-do and white paint was totally unacceptable - just let the slipups be. Here's a simulation of their craft, we don't really know what typeface this was supposed to represent… any ideas?

Grungy Old Typewriter is based on two typed letters, each on two pages and dated 1901. The results are eroded, rough, irregular and grungy. The final results are a vintage look. As a designer, I wanted as much flexibility as possible, so there are six versions that are designed to work together. Additionally, I decided to keep the grunge and irregularities within the shape and not include surrounding typewriter or paper marks. I leave it to the design to add those elements as desired. One note, the letter spacing is much tighter than an old typewriter. I felt that readability for modern readers suffered from the added space. Of course, you can get that same look by increasing the letter spacing in your favorite design program.

A calligraphic script font Millettre is the last member of the trilogy of types designed by Lyudmila Mikhailova. First two fonts Milanette and Milafleur were released earlier. The font is based on author's lettering artworks which she did for many years for companies who produced greeting cards. The characters of the font have rough contours simulating lettering by a pointed pen on a rough paper. The character set covers standard Western, Central European and Cyrillic code pages. The default version of the font is presented by disconnected script, but connected variant is also included and organized as an alternative stylistic set. The font also contains some initial, finial and alternative forms of letters. Recommended for use in advertising and display typography. Released by ParaType in 2011.

Hokagata is a casually and quickly written brush script. Letters are made with brush pen on a paper. Then scanned and carefully drawn into vector format. There is just a right amount of texture left so it looks good in small and big sizes. These elements gives Hokagata its organic, authentic and laid-back characteristics. The Hokagata Family includes 2 font files: 1. Hokagata • A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Hokagata Swashes • A set of 64 hand-drawn swashes, the perfect finishing touch to underline your Hokagata text. Simply install this as a separate font, select it from your font menu and type any A-U character to create a swash.

Hypercreepos is a sweet and creepy hyper-bold font inspired by the horror comic books of the 60s. Handmade in La Chaux-de-Fonds (Switzerland) on lined A4 papers, the letter's shape is conscientiously designed to give a punchos impact on the reader. The unique and vibrant contours are drawn on an improvised backlit table inherited from Bisou's mother. Definitely contemporary, the overall feeling given off by Hypercreepos is profound and human, evoking the graphite smell of the comic's workshops. Exclusively made for titles, this impactos font will suite with delight the text of posters, signs of comics bookstore, gaming bar, horror movie theater or film festival. That said, the designer is not responsible for the use of Hypercreepos and wish it will serve beyond all expectation.

Hermitage is a modern, elegant serif font that includes six typefaces regular, outline, oblique, outline oblique, rough and rough oblique. This font has a light weight and looks amazing in logos, branding, arranging wedding invitations, business cards, packaging, cosmetics, also works perfectly with text, it is very readable and recognizable, book cover, magazine headers, or simply as a stylish text overlay to any background image. This font includes alternates for Uppercase and Lowercase, with them you can make your project more elegant and unique and the slanted style will add dynamics to your design. Use a rough style on the craft paper, it will look great on it and create an atmosphere of handwriting. This font is easy to use has OpenType features.

Hijabella, a natural handwriting font, weaves an organic elegance into the realm of digital typography. With fluid strokes and a graceful rhythm, this font emulates the authenticity of hand-scripted messages. Each letter carries a unique charm, reflecting the imperfections and nuances found in real handwriting. The subtle variations in line thickness and the gentle slant of characters create an inviting and personal touch, reminiscent of pen meeting paper. Whether used for invitations, heartfelt notes, or creative projects, Hijabella’s natural flow captures the essence of a handwritten message, adding warmth and sincerity to the digital medium. Its versatile and effortless aesthetic makes it a perfect choice for those seeking a font that seamlessly blends the convenience of technology with the personal touch of genuine penmanship.

BECHAMEL ROMAN was born interpreting unicase letterings of the movie "Willy Wonka and the chocolate factory". Later these ideas matured with flexible tip nib and paper mixing their naive proportions with some classic ingredients of Baskerville, Bodoni, Didot, Round Hand Script, Graffiti and labels found in Venezuela and Colombia. BECHAMEL ROMAN designed to be combined with Bechamel. BECHAMEL Script, Vein, Words & Ornaments were hand drawn to design words and phrases in logos, packaging, posters, envelopes and greeting cards. BECHAMEL ROMAN 1,2,3 & 4 is an experimental font family designed by #carlosfabiancg. It includes an irregular look to communicate craftsmanship. Its multiple upper cases with condensed width and naive lines are notable for their expressive drawing with a high amount of contrast between thick and thin strokes.

Virgolate is a beautiful and classy script based on manual calligraphy ink on a paper. This fnt has many swashes that allows you to create beautiful lettering instantly. it has many stylistic set alternates that you can choose from. This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual ligatures alternates swashes 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.

ITC Vino Bianco was created by German designer Jochen Schuss. He drew his inspiration from the handwriting of the waiter in his favorite local pub, especially the form of the capital Q. Based on this one character Schuss developed the entire alphabet. The figures are sketchy and generous and look as though they were written on paper with a ball point pen. Vino Bianco is an alphabet of capital letters, each of which also has an alternative form, making it very flexible and true to the tendency of true handwriting. In spite of its fine strokes, the overall look is open and light due to the large amount of space each character occupies. The cheerful, carefree ITC Vino Bianco is best used for headlines and short texts.

Conspired Lovers is based on five years of love-letter writing. A font to capture the intentions of love letters more than any other font. How did the Project start? In the last five years I wrote love letters with two persons. I became used to the joy of handwriting with ink and nib on fine paper. Through practice a experimentation my style continuously refined. As life moves on, suddenly I found myself with no one to write love letters to. It's a luxury to have someone to write letters to. Missing the joy of writing and listening to Gregory Porter’s “Be Good”, the decision was made to take this 5 years of writing and make this dance on paper a font. A handwritten typeface for everyone to use. This font was created in July, 2012 and named Conspired Lovers. A font to capture and convey your message in a special way to the beloved one close to your heart. With a long practice of writing crafted into the unique design I hope that you and the recipient of your writing will soon enjoy this design. The Open-type version features 350+ glyphs including alternates and ligatures. All lowercase and most uppercase letters are connected, to create a realistic hand-writing-calligraphy on your creations. Conspired Lovers is international and supports a wide range of eastern european languages with accented letters to reach everyone in Sweden, France, Hungary and almost everywhere around the globe. A trailer for Conspired Lovers can be seen here: http://vimeo.com/haraldgeisler/conspired-lovers If you're looking for more heart related fonts also check out my other fonts.

Linotype Scrap is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The font is available in two weights and was designed by German artist Ingo Preuss. It is as though the forms of the basic weight were cut with scissors out of pieces of paper. There are no inner contours, only the outer silhouettes. The capital letters which make up Scrap Bonus are set on black rectangular backgrounds and are white and framed with a white contour. This weight includes a number of different pictograms which were also not spared the scissors. The decorative Linotype Scrap embodies the comic style of the 1990s and is meant exclusively for headlines of points sizes 18 and larger.

Founded on a rigid structure of modernist type, Calypso E has a determined tone without an authoritative tang. It is an updated interpretation of a Neo-grotesque model Egyptian with a hint of Humanist lightness in its forms. Seriously big x-height, square basic form and sturdy serifs create firm text regardless of the weight. This makes Calypso E well suited for various media, from sharp plotter images to low-res television screens. Calypso E includes four suitable body copy styles. Book, Regular, Normal and Medium can be applied according to, for example, the size of text and quality of paper. All styles in the family are equipped with an expanded character set, small caps, case sensitive forms, discretionary ligatures and much more to make even the most elaborate typographic detailing possible.

Create lasting memories with the Summertime Stories font, a charming uppercase script and doodle set. Crafted by hand with real pen on paper, Summertime Stories naturally replicates the fluidity and imperfections of messy handwriting. This achieved by providing an alternate set of each letter, along with 43 unique ligatures (double letter combinations), designed to create natural pen-stroke connections between handwritten letters. Along with the script font, a separate ‘Doodles’ font is also included, containing 52 arrows, containers, underlines, scribbles, icons and sketches. These are designed to perfectly compliment the Summertimes Stories letterforms, allowing you to add an extra personal touch to your designs. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Albiona Inked is a vintage distressed version of Albiona that evokes the urgency of teletext printers, typewriter ribbons and authentic hot-metal type on rougher paper. A contemporary slab-serif, it revisits aspects of Robert Besley’s classic Clarendon, designed around 1842 for Thorowgood and Co. and named after the Clarendon Press in Oxford. Subsequently extended by Stephenson Blake in the 1950s, Albiona adds the inwardly-curved stroke terminals of the same foundry ’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised and streamlined for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting. A rounded “soft” version is also available.

Arkeo BT is designer Brian Sooy's first typeface family published by Bitstream. Given very few design elements to work with, Brian has designed a bitmap font that is unique and very readable. There are three widths, Condensed, Regular and Extended. In our opinion, pixels never looked so good. Arkeo performs equally well on screen and as on paper. The OpenType versions include an extended character set featuring oldstyle figures, fractions and additional f-ligatures. Design was begun in late 2001 and completed in 2002. Sooy asked Bitstream to critique, which we did gladly. We also added additional characters for OpenType. This included alternate figure set, an extended set of fractions and additional f-ligatures. Sooy used preliminary versions for setting parts of the TypeCon 2002 material and website.