From the fluid brushstrokes of Teri Kahan's lettering comes a tropical treasure: ITC Puamana, graceful as a palm tree in the ocean breeze. “Puamana” is a Hawaiian word with several meanings; among them are “the blossoming of miraculous power” and “sea breeze.” ITC Puamana captures the essence of the tropics, suggesting the sway of palm trees in the ocean air. With its ragged edges and italic slant, this brush-written alphabet has a unique visual texture that graces the page with spirited movement. Sketched on the beach in Maui by west coast designer Teri Kahan, ITC Puamana first saw life as apparel art for a Hawaiian clothing company. Now this versatile typeface is a complete alphabet that's useful for both text and titles. ITC Puamana can be put to use in everything from book jackets to in-store signage.

Mortissimo – A Beauty Serif Typeface Mortissimo, a captivating beauty serif typeface, exudes timeless elegance and sophistication. With gracefully elongated serifs and finely crafted letterforms, Mortissimo strikes a harmonious balance between classic aesthetics and contemporary design. Its delicate strokes and subtle curves convey a sense of refinement, making it an ideal choice for projects that demand a touch of grace and charm. Whether used in print or digital media, Mortissimo’s intricate details and graceful proportions contribute to a distinct visual appeal, capturing the essence of beauty and timelessness in typography. Mortissimo is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

More Printing Helpers JNL gathers another assortment of vintage printing embellishments and ornaments from the late 1800s. Within the standard twenty-six alphabet keys are pointing hands, corner pieces, border elements and decorative center and end pieces. On the lower case, certain elements have been flipped or inverted for matching effects. Some additional positions are available on the 1 through 9 keys and on the colon and semicolon. A bonus to this font: three expandable panels. the first (with decorative end caps) is attained by typing the left parenthesis for the left side, the hyphen for the center lines and the right parenthesis for the right side. The second one features ribbon ends, and the combination of the less than-equal-greater than keys creates this panel. The third design can be made by typing the left brace/vertical bar/right brace keys.

Designed by expert ad artist Herbert Thannhaeuser for East German foundry Typoart in 1955, Lotto was until now one of the long lost gems of European sign and brush lettering faces. Unlike in Kurier (Thannhaeuser’s other brush face digitized by Canada Type as Puma), the forms’ brush construct uses a series of strokes that are mostly sudden, whimsical, and at times even look like great genius being born out of simple afterthought or straight-forward idiosyncracy. For instance, check out the simple brush pause that is the top of the f, the confident yet welcoming serifs on the T, the similarly-themed C/E and O/Q relationship, and much more. Lotto comes with over 400 glyphs, contains a few alternates and ligatures sprinkled throughout the character set, and includes support for the majority of Latin languages.

Designed in 1928 by Alessandro Butti under the direction of Raffaello Bertieri for the Nebiolo foundry, Paganini defies standard categorization. While it definitely is a classic foundry text face with obvious roots in the "oldstyle" of the Italian renaissance, its contrast reveals a clear underlying modern influence. In a typical Italian artistic fashion, Paganini manages to be a superb text face while having enough priceless ornamental moments to make it great in display uses as well: Check out the splayed M, the wide-tailed g, the flowing tail on the y, the high-armed k, etcetera. While the original metal version was limited to five basic fonts, this digital expansion includes small caps in the three main upright weights, plenty of alternate forms in all fonts, a super-seductive Open font, and an expanded language support covering the majority of Latin-based languages.

Designed over three years after the second World War, and published in 1949 by the Nebiolo foundry, Normandia was Alessandro Butti’s take on the fat face. As it usually was with Butti’s designs, this face effectively injected a catchy yet expertly calculated calligraphic spin into its source of inspiration — which was the essentially geometric/deco, thicker model of Bodoni’s very popular aesthetic. The metal Normandia saw some widespread use for a handful of years after its publication, not least because of the multitude of sizes in which it was available. It stepped out of the limelight by the mid-1950s, due to a combination of the popularity of cold type and Nebiolo’s refusal to retool its faces for new technologies. It was copied by a few small film typesetting outfits on both sides of the Atlantic, but never really found its way back to the mainstream. By the time computer type became the norm, Normandia was pretty much relegated to a type historian’s collection of anecdotes. This digital update of the classic series revives and refines the three original metal designs (Tonda/Regular, Corsiva/Italic, and Contornata/Outline) and expands the character set to more than 600 glyphs per font, including small caps, six types of figures, fractions and nut fractions, a full set of f-ligatures, some stylistic alternates, and other fine typography niceties.

Sweet Upright Script is the first release for Sweet Fonts Collection, published by MVB Fonts. It is an interpreted revival of a vintage, social engraving lettering style that was popular during the 20th Century. It is probably the first digital version of the design. With the advent of the engraving machine (a pantograph device) around 1900, commercial engraving moved from the use of hand-cut plates to the use of masterplates (lettering patterns). Lettering was traced from the masterplate using the engraving machine, letter by letter, onto a coated steel plate, that would then be etched in a chemical bath. The resulting plate was used to print engraved stationery with the raised print distinctive to the process. Many of these lettering styles were used for decades for commercial and social applications (letterheads, wedding invitations, etc.), but as they were merely traced alphabets, were not "fonts". Many remain unavailable in digital form. Over time, a number of the most popular styles were adapted to phototype, which sped up the process of plating for engraving, avoiding the need to trace each letter by hand with the engraving machine. Later, when type went digital, these phototype fonts were revived as digital fonts. As a result, the styles offered by engravers narrowed over time, as has the range of engraving styles revived in digital form.

Linex Sweet was designed by Albert Boton in the late 1990s. It's a smallish family of three weights; the middle weight has an italic companion face. With its soft corners and slightly quirky head-serifs, Linex Sweet is a friendly design that sees much use. Several years later, Boton began sketching a new design, based on the original Linex Sweet but with a little more authority and grace. Linex Sans is the result. A mix of crisp angles and soft shapes, this new addition to the extended Linex family is both inviting and elegant. The subtle calligraphic overtones distinguish the design from more traditional sans serif designs. A three-weight family with a complementary italic for the Regular weight, Linex Sans is a versatile communications tool in both text and display sizes. It offers that mix of sophistication and joie de vivre that characterizes the designs of Albert Boton. Boton began his professional career as a carpenter. Fortunately for designers and typographers, he quickly turned from pounding nails to hammering out graphic design and constructing great letterforms as a profession. In his long career, he has created hundreds of distinctive, highly useful and award-winning designs. And even though he is now retired from active business, Boton continues to create fresh, new typeface designs. Add Linex Sans to the list.

Raw herring is the Dutch sashimi. Every year at the beginning of the summer a new batch of freshly caught herring arrives at Holland’s quays. Fishing boats actually race each other to be the first boat bringing it home. The fresh herring is called ‘Hollandsche Nieuwe’ (Holland’s new). This typeface, designed by Donald Roos, is based on the typography of Dutch fish shops and stalls. Inspired by lettering from the 30’s and 40’s, infused with some ‘techno’ flavour, Hollandsche Nieuwe is the brand new fresh fishy type flavor on your computer! It is traditionally eaten with sliced onions and pickles. Simply pick up the fish by the tail, open your mouth and take a bite! Enjoy!

Do you want your designs to have strong characters? Hirace is a display font in capital letters perfectly created to meet your needs. A racing theme sticks in its display, which is a brilliant idea. This font, in accordance with its theme, shows a strong brave character to use anytime designers need a large-sized text. Other incredible features are also available to maximize the design projects. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Apply this font for any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, and so on. Find out more ways to use this font by taking a look at the font preview. Get it now. Happy designing.

Circuity is a display font designed in a racing theme which provides a unique yet modern capital letter font. Each stroke shows a firm brave character. Due to its shape and size, it is suitable to apply for a large-sized text such as titles. Enjoy the interesting features to maximize the design projects. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Circuity is definitely proper to use in any design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, and so on. Find out more ways to use this font by taking a look at the font preview. Thanks a lot for purchasing our font. Happy designing.

A Modern Strong Display Font that perfect for technology, sport, racing, action design project. A new Display Font that we created special for Headline, Title and more stand out typography needs, with extra outline that will add your variations. It's so perfect to add your style and headline overview. And specially for Headline font, we crafted for futuristic style and modern feels so enjoy to create any project that will show your main idea out. Varien Modern Strong Display Font ready with: Any options to get creative variations (combination of Outline Characters) Preview as a inspirations that you can do with Varien font Ready with All Uppercase characters Wish you enjoy our font. :)

Introducing Motobreath, the bold typeface that is sure to turn heads. This font is inspired by the energy and power of hard rock music and the thrill of the racing car scene. With Motobreath as your secret weapon, you'll instantly add excitement and attitude to any design project. The simple angles yet energetic lines give this typeface an unmistakable edge that sets it apart from other fonts on the market. Whether you're looking to create a bold headline that demands attention or a logotype that conveys strength and power, Motobreath has got you covered. Motobreath features : Standard Latin Numbers, symbols, and punctuations Multilingual Support. Fully accessible without additional design software Simple Installations Works on PC & Mac Thank You.

Trinos is a strong character font that combines racing style and techno with a slightly expanded letterform and sharp edges. The sharp spur on the top of letterforms, bold weight, and fully geometric represent strength, honor, and brave. Speed up your pulse with Trinos font available in Stencil and Solid style. This all-caps font is perfect for sports, great for automotive, and looks cool for techno themes. You can apply this font for jerseys, decals, flags, logos, posters, magazines, packaging, and many more! Not only that. Trinos is equipped with much of alternates characters, and elegant ligatures to boost your design look more powerful! What you'll get : Uppercase & smallcaps Numbers & punctuation Multilingual support Stylistic alternates Ligatures Sincerely, Ramz

Experience the amazing feeling with Lastlap that will make your work a lot easier than before. It is a display font designed in a racing theme. In accordance with its theme, Lastlap expresses a brave feeling with its dramatic bold style suitable to use in titles, logos, and any other designs with large-sized texts. Enjoy other incredible features available on this font. Features: Multilingual Supports PUA Encoded Numerals and Punctuation Lastlap fits best on various design projects such as posters, banners, logos, book covers, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Get it now. Happy designing

In the last years our society has change a lot. Nowadays cities and countries are no longer static territories with well-drawn borders and a population perfectly defined. Globalization is a fact and the best consequence of it is the mixture of races, ideas and cultures, and this is exactly what this typography aims to show. Albollón is at once a semi-serif and a semi-sans serif typeface; it is a mixture made with the best parts from both sides. This way is how I understand a healthy society and a healthy design too. Albollón is designed to work in all types of text, both long and shorts, big and small ones.

Yazan is a New Arabic display typeface for desktop applications, inspired by oriental kufi and Qairawani kufi . Designed and developed by Sultan M. Saeed, Yazan has updated proportions and details, and is distinguished by its traditional serenity, modern aesthetics, This makes it suitable for large display sizes, especially in the area of advertising, while still functioning well as a text face.

Elizabeth ND is known for being the first typeface designed by a woman: Elizabeth Friedlander. It was engraved in 1938 by the Bauersche Gießerei. It has two styles: roman and italic. Its grace, delicacy and beauty allow many compositional possibilities, making it an ideal choice for use as a display and headline typeface. Elizabeth is a Trademark of BauerTypes SL

Hollenbeck JNL is the Art Deco, all-caps cousin of Jeff Levine's Hallandale JNL typeface. This version utilizes the thick-and-thin stroke weights so popular during the Art Deco era, while retaining the look of hand-lettered copy. Best suited at larger point sizes, this font is a nice alternative to the over-used display faces reminiscent of that time period.

Wood Type Grotesk JNL was re-drawn from a set of vintage wood type purchased from a closed rubber stamp shop. Although the style of lettering is referred to in old type catalogs as a "grotesk" face, in truth the lettering has charm and effectively gets the printed point across to the reader. This typeface is available in both regular and oblique versions.

In the 1934 edition of the American Type Foundry’s “Book of American Type” is a selection of letterpress fonts which emulate typewriter faces. One design named “Bulletin Typewriter” served at the model for Cub Reporter JNL, and is available in both regular and oblique versions. The font has been monospaced in order to add a more traditional typewriter look to any project.

Night Clown - Quirky Clown Font. With its quirky, decorative, and playful design, this font captures the essence of clowns, parties, and April Fools' festivities. Offering a delightful range of seven variations - regular, clown hat, mask, surprise, laughter, decorative, and funny face - Night Clown is a perfect fit for children-oriented projects, kids' events, posters, greeting cards, birthday invitations, and even logos.

Louisiana originated from the lovely handwriting style of Melanie Snedeker. Lettering Artist Charles Borges de Oliveira then refined the letter forms to produce this one of a kind handwriting script. When you need a legible handwriting font, Louisiana is the perfect choice. Louisiana Grab Bag is a fun little add-on to Louisiana. Chockfull of arrows, smiley faces and other little goodies.

Sonopa is a classically unclassifiable face, with an array of standard and extended ligatures and alternates, tabular and lining oldstyle figures. In essence, it is a playful, hand-penned script, with elements of rigidity taken from more structured styles. Sonopa contains enough detail to fare well at poster sizes, with an evenness of color that is also suitable for text runs.

Cirkulus is an experimental display face, constructed using combinations of hairline circles and straight lines. The typeface was designed by Michael Neugebauer in 1970. The letters exude a constructivist aura, reminiscent of both the revolutionary 1920s, and the digital experiments of the 1990s. Cirkulus is a unicase alphabet, with a very lightweight appearance, and should be used solely in large display sizes.

Embrace the aqua-infused elegance of our modern serif font. With fluid, graceful strokes, it captivates with its contemporary charm and timeless sophistication. Let the cascading aqua serifs dance across your designs, creating a harmonious symphony of visual delight. Elevate your typography and unleash its captivating power. Experience the fluidity and immerse your audience in its mesmerizing beauty, leaving a lasting impression.

Audica is an exquisite vintage-style script font that exudes timeless elegance and sophistication. Its flowing cursive strokes and intricate details add a touch of charm to any design project. Perfect for invitations, logos, branding, and packaging, this font evokes a sense of nostalgia while maintaining a modern edge. With Audica, elevate your creations with its graceful and captivating allure.

BonaVia is an adaptation of Greater Albion's Bonning and Bonnington families. Its purpose made to enable the construction of banners and mastheads in the style of traditional streetsigns, and offered in Regular and 'Blanc' faces. A selection of decorative ends and fleurons are included. BonaVia is splendid on posters, signage, book and CD covers and labels with a period feel.

An unannotated photocopy tucked inside the leaves of an old lettering book yielded this unusual and exuberant Art Deco face. The caps feature a simple “bubbly” pattern that makes this offering pack a punch, not unlike the German cherry brandy for which it is named. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

BELLVOIRE DISPLAY is A Graceful Vintage Display Typeface Family, comes with 7 styles arranged from Light to Black. equipped with various opentype features such as stylistic alternates, stylistic style(ss01 to ss10), swash characters(Uppercase), ligatures, additional symbols, and multilingual support for major latin based languages. Bellvoire Display is perfect for branding, logo design, magazine, poster, invitation and many more.

Eccentric was designed in 1881 by Gustav F. Schroeder. It is an all-capital, narrow-bodied, monoline display face that could be described as high waisted. With cross-bars and main junctures more than halfway up the letterforms, every letter - except the W - has a long-legged appearance. Eccentric has a wide range of display uses, from playbills to fashion advertisements.

Graphite/4b pen illustrations from the past resurrected as vector/tattoo-art! The detailed illustrations can be displayed at large sizes/full magazine layout page down to thumbnail size! a-l: The full Zodiac of Chaos m-u: Parts from the Tarot of Chaos v-z: Faces of Chaos A total of 26 unique illustrations. Upper case A-Z hold mirrored versions. Enjoy!

A revival of “Gras Vibert”, a French fat face originally cast by the Didot typefoundry in Paris. It was cut in 1840 by Vibert, an engraver employed by the foundry. The capitals are heavier than the lowercase letters, and the characters g, k, y and & are rather peculiarly shaped, exaggerating the vertical stress. The font is designed for large sizes.

This assertively Art Deco face is based on Cubist Bold, designed by John W. Zimmerman for Barnhart Brothers & Spindler in 1929, and takes its name from one of the co-founders—with Pablo Picasso—of the Cubist Movement. Both versions of this font contain the complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Based on a typeface originally called "Seven Flare", this offering has a warm, slightly naive grace and a casual nostalgic charm. In addition, kerning has been applied to all possible letter combinations, so that you can mix the upper and lowercase letters in any combination you please. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Good Monday is a modern calligraphic style script font with a bold and thin touch like the one you get from writing with a brush. This font is traced from the handwriting so it looks very natural. Good Monday is perfect for use in invitation cards, fashion branding, shirt printing, product advertisements, posters, etc. This font has multilingual support, alternates, and ligatures.

In 1962, the late Robert Libauer of the Stenso Lettering Company (of Baltimore, MD) revised two of his popular stencil lettering guides to offers users two choices: “traditional” stencil letters and numbers and "solid" letters for tracing and coloring. Solid Stencil JNL was modeled from one of those lettering guides, and contains all of the character anomalies found within that vintage stencil.

Created by Chank in 1992, Ribjoint was Chank’s first attempt at creating a Egyptian, cursive font on the computer. Writing cursive with a pencil sure is easy, but getting all the letters to link up correctly in computerized font format is a bit tricky. Not the most graceful script in the world, but it works good enough for a BBQ pit.

Blackfriars, a Victorian-era release from the Stephenson Blake Type Foundry, provided the basis for this rough-hewn gem. Slightly clumsy yet eager to please, this typeface adds a cheerful warmth to any project it graces. The PC PostScript, TrueType and OpenType versions contain the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.