AM Siola is designed as a pure display font. The starting point for this type design was a customized logotype. Logotypes usually just need the design of some characters to form a harmonious, individual lettering. Obviously, it is much more difficult to create a complete font on the basis of just a few characters. The semi-serifs partly running in the opposite direction form the basic idea for this font. AM Siola can well be used for packaging design, logo design and individual headlines for anything from advertising to posters.

Hunting Object a work that is purely handwritten, has its own characteristics with the style of monoline. this is perfect for invitations, signatures, blogs, social media, business cards, product brands. Hunting Object has Stylistic standard, Stylistic Alternate, Stylistic Sets and ligatures. and includes uppercase and lowercase letters, numbers and punctuation marks. FILE INCLUDE Hunting Object (OpenType,PUA) OpenType features can be accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. special greetings for all, all of us all smoothly in running the routin

Preta, portuguese for a very pure kind of black, has its name very related to its concept: I wanted to make the fattest/darkest script ever. People who follow my work may notice its forms are very related to works of my past (1) but this time the challenge was to be very cautious with the white spaces between letters. Not only I followed some rules and ductus of the copperplate style of calligraphy but also I took a lot of inspiration in posters of the early Art Nouveau (specially in Alfred Roller of the Vienna Secession) where letters forms looked like black squares if not looked from a close distance. With Preta, I wanted to achieve that same idea of “darkness” and thanks to the always welcomed question -what if?- the font grew a lot. The result is a very fat font, that looks delicious. Due to possible customer needs, I designed Preta Small, so it can be used in smaller sizes. Preta Ao Sol (which literally means under the sun!) is a style with those lovely tiny details to give the sensation of bright. Preta Ao Sol Solo was made to be used as a layered font with Preta. Finally, Preta Capitals serves as a company for Preta. Hope you enjoy the font as much as I did when designing it: The fact that it’s full of alternates, swashes, ligatures and swirls makes it really pleasurable at the moment of using it. Give it a try and dance with Preta! TIPS For better results, use Preta with the ‘standard ligatures’ feature activated. NOTES (1) Beatle in 2014. Seventies in 2015.

A comprehensive and faithful rendition of one of the finest metal typefaces of the 20th century. Rudolf Koch designed Wilhelm Klingspor Schrift (initially conceived as “Missal Schrift”, and later referred to also as “Wilhelm Klingspor Gotisch”) between 1919 and 1925 for the Gebr. Klingspor Type Foundry in Offenbach am Main. It is an impressive textura typeface, being sharp, elegant, spiky, sensitive and noble at the same time. Some of its most notable features have to do with the delicate decorations, the thin but subtly swelling lines that parallel or bridge strokes in the capitals, the hairline endings that terminate each stroke in both the capitals and the lowercase letters, the subtle joining of hairlines to thicker strokes, and the tension of some of the transitional curves. Koch’s original design included two sets of capitals (normal and condensed); alternates for a, d, e, r, s and z, plus long s; short and long flourished finial forms for f and t; thirty-five ligatures; and eighteen decorative pieces (Zierstücke). All of these features, plus several additional ones for modern use (including the usual standard characters for typesetting in modern Western languages, additional alternates and ligatures, plus carefully coded Opentype features), have been thoroughly implemented to the highest and most lively level of detail in the present font, in the hope that the past greatness of Wilhelm Klingspor Schrift will finally step into the modern OpenType realm. The main sources used during the font design process were several pages from a specimen book issued by the Gebr. Klingspor Type Foundry in 1927. Other sources were as follows: Bain, P., and Shaw, P. (Eds.) (1998), Blackletter: Type and National Identity, New York: Princeton Architectural Press (p. 43); Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (pp. 56-7); Kapr, A. (1983), Schriftkunst, Dresden: VEB Verlag der Kunst (p. 453); Kapr, A. (1993), Fraktur - Form und Geschichte der gebrochenen Schriften, Mainz: Verlag Hermann Schmidt (pp. 124-5); and Klingspor, K. (1949), Über Schönheit von Schrift und Druck, Frankfurt am Main: Georg Kurt Schauer (pp. 136-7). Some public and private comments by renowned designer and design historian Paul Shaw have also influenced both the design and the description of the present font. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Wilhelm Klingspor Schrift” Font Page.

Clean and geometric deco sans typefaces have been used in a range of scientific publications, corporate logotypes, and beauty products over the years. However, a typeface of this style has yet to have an expansive range of widths and weights to become a design workhorse, until now. The Sunblock family finds its origin of inspiration in the Coppertone sunscreen company logo, and from there expands to type megafamily. Sunblock celebrates the rounded geometric forms of deco and bauhaus lettering through a compressed lens, transcending its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It inherited its soothing tone from the limited character logotype that inspired it, and goes on to include a lowercase, small caps, and a comprehensive range of widths and weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Sunblock Collection bundle: 643 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 7th graphic for a preview of the characters included) 21 fonts in 5 width subfamilies: Ultra Condensed, Extra Condensed, Condensed, Semi Condensed, & Standard. 5 weights per subfamily (except Ultra Condensed): Thin, Light, Regular, Bold, & Black. Fonts are provided in both TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Sunblock Collection is for you: You're in need of a deco geometric font family with a big range of weights and widths You're love that Coppertone letter styling, and want to design anything within that genre You're looking for an alternative to Chalet Comprime with a more versatile range of styles You're looking to start up your own derivative Sunscreen product line You just like to collect quality fonts to add to your design arsenal

Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms. Maestro is the font that Arrighi and his colleagues would have made if they had had digital technology. Like the calligraphic system of the papal chancery on which it is modelled, it was not drawn as a single finished alphabet, but evolved from a confluence of script and Roman; the script is formalized by the Roman to stand proudly in a world of type. Maestro came together on screen over the course of several years, through many versions ranging widely in style, formality, width, slant, weight and other parameters. On one end of the spectrum, looking back to tradition it embodies the formal harmony of the Roman capitals and the minuscule which became the lower case. On the other it is a flowing script letter drawing on the spirit of later pointed pen and engravers scripts. As its original designers intended, it works with simple Roman capitals and serifs or swash capitals and baroque flourishes. The broad pen supplies weight and substance to the stroke which carries energy through tension in balanced s-curves. Above all it is meant to convey the life and motion of formal calligraphy as a worthy counterbalance to the stolid gravity of metal type. The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. For more thoughts on Maestro, its background and character sets, please read the PDF accompanying the family.

Olis is a stylish, fresh new handwritten script. Olis comes with two weights, numerals, punctuations, and some variations on character including OpenType alternates, and common ligatures. It helps set your designs apart by adding a custom-lettered look. You will also find that its initial and terminal letters can enhance your designs in new and creative ways. Hand-drawn leaves, plants, flowers, as well as large and small snowflakes add original detail while complementing the font perfectly. If you like this font you might also like an aesthetic text generator by the same author.

Introducing Rhomer Serif Font This beautiful font will engage your audience and make your promotions and projects stand out. This font is designed with a bada curve in the middle so it looks really cool and brings your brand to life and add a touch of modernity and style with the Rhomer Serif Font. Use it for titles, logos, business cards, printed quotes, all kinds of invitations, cards, packaging and branding of your website or social media. Our font always includes Multilingual option to make your branding globally recognized.

The term starboard derives from the Old English steorbord, meaning the side on which the ship is steered. Before the steering wheel, boats were steered by an oar at the stern of the ship. Since most sailors were right handed, this is where you would find your steering oar! Starboard font is a rough, handmade, brushy kinda font. It was, of coarse, made with my favourite cheep brush and Chinese ink - resulting in a slightly eroded looking font. Starboard comes with all the trimmings, including double letter ligatures for the lower case.

Radar is a revival of the sans serif typeface “Grotesca Radio”, from the Spanish foundry Richard Gans, which existed from 1888 to 1975. His authorship is attributed to the German type designer and master punchcutter Carl Winkow. Although the new version of this font has always tried to keep accurate similarities with the original typeface, Radar is not intended as a strict revival, but as a contemporary interpretation. In this new version the user can find some alternate characters that give the typeface a more art-déco or neutral flair.

Core Bandi is a grunge 3D font supported by equivalent ‘flat’ styles named Core Bandi Face. This typeface is very cute and has rhythmic flow line, but not distracted. And you can easily make various color combination with CoreBandi & CoreBandi Face. Its really hard to find doodled 3D Korean(Hangul) fonts even in Korea because Hangul has as many as 11,172 characters. Supported codepages are MS Windows 1252 Latin1 and MS Windows 949 Korean consisting of 11,172 Korean letters and Symbols except Chinese. We recommend to use for books, magazines and posters.

Watford is a textured brush font, a contemporary approach to design, handmade with irregular base lines. Suitable for use in title designs such as clothing, invitations, booklets, stationery designs, quotes, branding, logos, greeting cards, t-shirts, packaging designs, posters and more. Watford includes a complete set of upper and lower case letters, as well as multi-language support, numbers, punctuation, binders, alternatives and additional swash. If you have questions, feel free to contact me via email: madjack.font@gmail, com Thank you very much for finding and enjoying it! Muhammad Zaki

Strong and somewhat rough but absolutely warm-hearted, this Tremendous family is quite versatile and will find the right tone to deliver your message in a nice way. It can be friendly, it can speak out loud, it can be almost serious. It just cannot go unnoticed! Each font weight brings 2 slightly different options for each letter , which is cool for a more uneven look. Pick your choices through the keyboard or just turn on the OpenType ‘contextual alternates’ feature to instantly cycle these alternates. For tremendous people.

"The Enchanted Garden" is a dark, vintage-style font designed with simplicity and readability in mind, ensuring effortless legibility for all your creative ventures. From wedding stationery and Instagram quotes to contemporary logos, packaging, and websites, this versatile font complements a wide range of projects. "The Enchanted Garden" font is a valuable asset for those who cherish the art of handwritten expression. Its meticulously hand-drawn characters exude a timeless charm, infusing your headlines and titles with vibrant life. Moreover, it offers three alternative lowercase glyphs, expanding the horizons of your design possibilities.

My kids have a tin box filled with crayon and pencil leftovers: bits and pieces that have fallen or broken off, but are still good enough to use. For me it is a treasure trove, as I often find a nice bit of crayon to use for a new font. In this case, I created Leftover Crayon. Leftover Crayon is a fat, crumbling and seriously eroded crayon font. Completely hand made, completely legible and full of character. Use it for your bedtime stories, product packaging and invitations. Comes filled to the brim with diacritics.

Squoosh Gothic is a serious new contender in the arena of headline fonts. Upright and condensed, Squoosh’s whimsical name belies its true nature. Though, that’s not to say it’s totally devoid of a sense of merriment – it just values a more orderly, regulated kind of tomfoolery. Mad-libs for instance, or The Times cryptic crossword. Its mature but unmistakably witty attitude can go a great distance to lending a sense of culture and an air of scintillation to your designs. Don’t miss out on this sanguine new font, Squoosh Gothic from Thinkdust, available now.

Dissident Font is a cool alternative for you to easily create your Underground band logo or whatever. Using alternative fonts and ornaments will liven up the font and will look cooler and fiercer. It comes with a basic character set and a small group of symbols and signs frequently used in the extreme music sector - Death- and Blackmetal classics such as pentagram drops, roots, wings and more. Features : - All Caps - numbers & punctuation - Multilingual - PUA encoded Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you

Mayblossom was named after an old French fairytale (The Princess Mayblossom),which is quite similar to the tale of Sleeping Beauty. Mayblossom font is a fairytale font. It was made with a magic wand (with a Unicorn hair core) onto centuries old parchment. The font was then blessed by 12 lovely fairies. Of course, I had the evil thirteenth one kidnapped before she could cast her spell. In other words, if your work requires a certain lightness, a pinch of fairy dust and a sprinkling of magic, then Mayblossom is your best pick.

Chalofa consist of a sophisticated, elegant, classy and modern handwriting style. With a little dirty curvature and made from the typography of new trends, Chalofa has a smooth wet ink look suitable for adding a modern and classy touch to your project. Perfect for branding, weddings, social media, product design, stationery, etc. Calofa can add to all projects where hand touch is needed. Try mixing your design with this font. Don't hesitate to pair with serif or serif in your work idea. Find interesting layouts to complement your project. This font has include multilingual support.

Bocksay Mira is a text font family inspired by the manuscript Mira Caligraphiae Monumenta created between 1561 and 1596 by Georg Bocskay and Joris Hoefnagel for the Holy Roman Emperor. All shapes were taken from the original records in both regular and italic style: lower case (p. 5, 72), uppercase (p. 47, 121), small caps (p. 122, 7). The high contrast forms and the wide spacing makes this family suitable for long texts but also for titling uses, having always that calligraphic and stylish look. Find the original script here

Hugh is the development of a wide type font, we create a work of art that combines a very strong spirit of wide type, for those of you artistic art lovers, this good news for you, because Hugh has a high artistic soul. This is the start of a happy year for you, get this font right away and develop your wild ideas, Hugh is the answer for you now. Its weight is superior in posters, social media, headlines, titles, large format print - and wherever you want to be noticed

Geovano is a font family which has 4 styles; Display, Script, Serif and Sans Serif. It is heavily inspired by all kind of vintage and oldschool design. Geovano is a font that you can use to make a vintage logo for branding, typography design, magazine or book cover, website header, product packaging, t-shirt design, label poster and many more. Feature : - 4 Styles with rough version - Multilingual Language - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works on Microsoft Word.

Rogelio Script is a stylish modern calligraphy font with casual chic flair. It is perfect for branding, wedding invites and cards, signature and maybe for red wine label. Rogelio Script includes full set of gorgeous uppercase and lowercase letters, numerals, a large range of punctuation and variation ligatures. All lowercase letters include beginning and ending swashes, giving realistic hand-lettered style. What you get, darling? In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw.

Qweny Check is a font liquid shaped, with a classic modern feel mouthwatering delights. This liquid font, which was meticulously crafted, is the ideal option for your vintage products. The many ligature in this font add a unique style making this typeface stand out from the usual display fonts, perfect for headlines, logos, posters, packaging, T-shirts, coffee shops, restaurants, magazine headers, signs or gift/post cards, cafe and wedding or any kind of advertising purposes. If there is a problem, question, or anything about my fonts, don't hesitate to ask! Big Thanks ~ Ergibi Studio

Inspired by the more than hundred years old classic Cooper Black, Chunk Black features a hefty character with rounded serifs and a soft yet sturdy overall appearance. Chunk Black provides a timeless and friendly feel and it’s very suitable for product and packaging design and any kind of display purposes from music business to restaurant menus and from t-shirts to band logos. Both Chunk Black and Chunk Black Italic are equipped with several OpenType -features and a total number of 87 alternate characters, set in Swash, Stylistic and Titling Alternates and Discretionary Ligatures.

San Marco is a part of the 1990 program Type before Gutenberg, which included the work of twelve contemporary font designers and represented styles from across the ages. Linotype offers a package including all these fonts on its web page, www.fonts.de. San Marco was designed by Karlgeorg Hoefer and brings to mind the style of the Italian Gothic found on the cathedrals of Milan and Florence as well as on the facade of St. Mark’s Cathedral in Venice. Its highly stylized characters make San Marco a good choice for extravagant typography.

The Wezer - Display Bold Font Duo is a unique and bold typeface that breaks away from the conventional font styles. It offers two distinct versions: rounded and display, both designed to bring something entirely fresh to the table. The purpose behind creating this font was to introduce a one-of-a-kind typeface that stands out in the design world. Wezer is the ideal choice for projects that require a touch of quirkiness and originality, making it perfect for logos, branding, headlines, posters, titles, billboards, banners, and any design that dares to be different.

The Mitram family has 7 weights, ranging from Thin to ExtraBold (including italics) and is ideally suited for advertising and packaging, book text, logo, branding and creative industries, small text, way finding and signage as well as web and screen design. Mitram provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, and super—and subscript characters. It comes with a complete range of figure set options—old style and lining figures, each in tabular and proportional widths. The typeface supports Western, Central and South-Eastern European and Vietnamese languages.

Rough Riders Redux along with our Rough Riders font, got its start from a small sample of letters used in the logo for the Beach Creek Railroad Co. dating back to the early 1860’s. I studied the design for one year before drawing the letters. Rough Riders and the Redux version are simply the most Wildest Western looking fonts you'll find. The Rough Riders fill font is not meant to be used as a stand alone black typeface, the fill font is designed to be layered behind the regular Rough Riders font.

Northwoods Rough is a handwritten sans serif collection by Cultivated Mind. This collection includes 30 handwritten rough sans serif fonts. Northwoods Rough comes in three rough versions (Rough/Rougher/Roughest). Choose between light, italic or bolder versions for designing. Test out the FREE Northwoods Demo before you buy. Northwoods Rough Demo is for testing only. Northwoods supports most of Central European and Eastern European languages. Use Northwoods Rough for packaging designs, products, signage, books and magazines. Fonts are designed by Cindy Kinash and posters by featured Behance designer, Mustafa Akülker.

Baltex Holled is calligraphy font that has a lot of alternate characters such as swash in beginning and terminal, alternte and stylistic alternate. This font alredy PUA encoded so you can easly to find the all alternates characters even though you use software that can't accsess opentype characters otomaticlly so you can use with characters map software to switch it, you can see it https://www.youtube.com/watch?v=KV7n5nxmsLs. Baltex Holled font is perfect for logo font, title, headline, products packaging, branding identity, advertisements, media social post, and more.

Smoothing is a stylish modern calligraphic font in an original handwriting style. It's perfect for branding, wedding invitations and cards, and maybe for red wine labels. Smoothing includes a full set of beautiful upper and lower case letters, numbers, a wide variety of punctuation marks and 46 ligatures. All lowercase letters include initial and final strokes, giving a realistic handwritten style. What did you get, honey? Full Set of standard alphabet and punctuation Extra set of ending swashed lowercase Handwritten ligatures Thanks so much for checking out my shop! Happy creating! Cheers! Hanief - Hanzel Space

Meutas Soft is a sans serif font family which geometric and humanist make a blend. Make it more attractive and dynamic. Meutas Soft is designed for display and body text. Maximizes thickness while maintaining balance in each form. This makes it especially suitable for all kinds of creative projects. Meutas Soft is a rounded version of Meutas font. Meutas Soft comes with 10 weights and a matching oblique, making it 20 styles. Some alternative glyphs will be an attractive choice. Makes every project you work on easier, and will certainly be awesome!

Aurelac - is a font that was inspired by the cover of the book "Learn to sew" by authors Egorova R. I. and Monastyrnaya V. P. This is a contrasting font that has unusual serifs and combines elegance and brutalism. Many uppercase letters are bold, while lowercase letters are lighter, which gives a more unusual effect to the text and the beginning of the sentence. It is perfect for headlines, posters, logos, banners, covers and much more. If you find errors in the font, kerning, then a huge request to write to the address: bunineugene@gmail.com

Mission Art contains 26 design elements from many of the California missions. From a dove about to alight on a mission wall, to floral accents of all kinds, to a mission cross, there's a design here for everyone and every purpose. An important part of this collection is 6 decorative borders that are designed in such a way that they can be used as single elements by themselves, or repeated to make a long border across a page. They join seamlessly by simply typing the appropriate letter over and over again.

Linotype Tapeside is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. British designer Stephan B. Murphy created this typeface with light, regular and bold weights, each with its matching italic. Consciously awkward, the characters line themselves up and produce a young, lively image. Linotype Tapeside is best for headlines and shorter texts in point sizes of 12 and larger and its varying stroke strengths allow this font to be set more universally than others of its kind.

Looking for a way to make your brand look dark, mysterious, and even gothic? look no further, HAYEN Blackletter! This font is perfect for creating labels, retro designs, stamping, badges, and packaging. Use it for your next retro Oktoberfest poster or for your next tattoo. It’s also a great choice for a barber shop or whiskey brand. Plus, it’s available in a variety of different styles and weights, so you can find the perfect one for your needs. So why wait? Add this Blackletter font to your next project today!

Boondock is another Imre Reiner design resurrected from the ashes of hot metal type for digital use. This wild paint font is a revival of the fascinating Bazaar brush type from 1956. Boondock has some very unique characters that combine to form a statement of casual but loud strength, seriousness and raw primal emotion. Great for short sudden-impact spurts, like book cover titles, single sentence headers, movie posters and music sleeves. Redrawn from original specimen by Patrick Griffin, and expanded with some built-in extras too add to the convenience of this digital version.

I'm always experimenting with new ideas for display fonts. I took the inside counter of a capital 'O', divided it into quarters, and applied an outline stroke to all the elements. By removing two quarters of the inside counter I had the beginnings for an interesting new design. Of course, the hard part was getting all the other letters in the alphabet to work well together using this approach. It's often a labor of love trying to shape an idea into a new typeface. I find the entire process stimulating and rewarding.

It is difficult to classify a typography that is made from different line fragments but precisely that is what makes it stand out from the rest, a construction that took months and multiple corrections that now make up a set of glyphs with is own identity based on the game between blacks and whites, standing out especially in large formats, posters, headlines, logos and titles. Playmax is a typeface with which you can find endless forms of customization, from its basic structure to the number of effects it supports.