Rase Nicolous is a tall, handwritten graffiti font built to emulate a particular category of modern American, west coast graffiti styles. The varied stroke width & rough edges can produce the look of a number of different writing implements, paint brush, pencil, marker, chalk etc.

The typeface was designed at the Polygraphmash type design bureau in 1989 by Lyubov Kuznetsova. Based on the typeface Literanutnaya (Latinskaya) of the Berthold typefoundry (St.-Petersburg, 1901), a version of Lateinisch typeface of H. Berthold (Berlin, 1899). For use in text matter.

If you take the South Shore Line from Chicago to South Bend, your train will pass though the small community of Beverly Shores, Indiana. The beautifully restored and highly colorful “Beverly Shores” train station sign not far from the Lake Michigan beach is the source of inspiration for this connecting script typeface. The sign’s existing ten letters have now been extended to include the entire alphabet. This old-fashioned depot letterstyle is much in the spirit of such faces as Fulton Sign and Inserat Cursive. Ascenders and descenders have been lengthened and capitals are now much larger. Alternate lowercase swashes, capitals, and small figures have been included for your convenience. And custom uphill words such as “The,” “for,” and “to” have been added for more novelty and spark in headline settings. Beverly Shores Script with Alternates is also available in the OpenType Std format. Some new characters including old style figures have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades. All aboard for Beverly Shores!

Canilari is a post-modern type family inspired by Diaguita pottery and contemporary serif typefaces. The Diaguita culture—developed from 10th century A.D. until 16th century A.D.—settled in the area of the present-day north Chile and northwest Argentina. Surviving cultural expressions of the Diaguita people are reduced to just a few pieces of beautifully decorated pottery of high technical quality. Canilari itself is a scream of identity with an incomparable tone that borrows elements from native America and proudly show them to the world. The intense and consistent personality of Canilari makes it a functional font for a wide range of uses: from continuous text in the most challenging environments to pithy, high-impact headlines. Canilari is well-suited for publishing: newspapers, magazines, books, etc. Its flashy look and angular shapes also make it an excellent choice for posters, logotypes, and advertising. The family consists of 2 sets: one standard and one pro, each in 4 weights plus italics. Canilari also includes a set of ornaments and illuminated caps. Together, the Std set (369 characters) and Pro (710 characters) support 219 different languages. This typeface was selected at the Bienal Tipos Latinos 2014.

Alio™– Let Your Creativity Flow. Inspired by sleek sans serifs and flowing cursives, Alio™ features the best of both worlds. The hybrid modular design of this display type gives you tons of alternates and options to play. Just let your creativity flow and enjoy creating a broad range of styles from minimalistic modern to decorative flourish. *Alio Pro* comes loaded with extensive ligatures and alternates. When combined this display type with Alio Decor, you can let your creativity flow to the max. Together, you can create stunning flourish designs and unique type treatment to your projects. The Pro also supports most Latin-based languages. Heck, it even covers Chinese PinYin. Perfect for the logo, branding, poster, book cover, store sign, and packaging. [6 weights/12 font styles. 750+ glyphs each] *Alio Decor* is more than just an Alio Pro’s sidekick. You can enjoy creating flourish designs exclusively with Alio Decor. [6 weights/12 font styles, 300+ glyphs each] *Alio Std* features selected glyphs from Alio Pro (fewer ligatures and alternates). Perfect for web headlines and subheads, and minimalistic, modern print designs. [6 weights/12 font style, 400+ glyphs each]

Trade Journal JNL and its oblique counterpart are derived from a classic grotesk sans face from the 1800s. Despite the 'Grotesk' style name, the font design is actually quite pleasing to the eye and a nice alternative to many of the sterile sans serif faces of today.

BARKLEY is a messy pencil drawn display font. It has over 200 glyphs and several variations on the standard alphabet and those extra pesky foreign features. I wanted it to look messy and rough but also with a little heart. Buy it, I know I might.

This is "Thinker," a new font designed by Peachcreme. It has a rough look, giving the impression that it was scrawled down in a hasty and disorganised manner by hand with a pencil. Plus, it comes with a bonus set of hand-drawn graphics and alternate letters.

Designed at Polygraphmash type design bureau in 1986. Based on "English" bold styles of the Ossip Lehmann type foundry (St.-Petersburg), of mid-19th century. The digital version was developed at ParaType in 1992 by Vladimir Yefimov. For use in advertising and display typography.

Variations on a theme by Nicholas J. Werner for St. Louis' Inland Type Foundry provided the pattern for this happy family, released in 1895 and 1899. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Sign and Design JNL is a casual brush alphabet modeled after an Alf R. Becker design that appeared in Signs of the Times Magazine. Thanks to Tod Swormstedt of ST Media and the American Sign Museum for providing the reference material to make this font.

In 1932, Xanti Schawinsky (1904?1979) designed an alphabet that combines two styles: a neo-classic stroke contrast paired with characteristics of stencil lettering. This mix is a child of its time and seems to reflect the Swiss and Italian biography of Schawinski. Luca Pellegrini took on the modern look and re-drew the letterforms, interrupted by subtle spaces where thick and thin strokes meet. Although Schawinsky had already designed a complete alphabet and figures in the early 1930s, Pellegrini took the character set to another level, adding currency signs, mathematical symbols and all kinds of punctuation ? anything needed to set more than just headlines. Xants is a blend of Swiss elegance and exclusiveness with Italian charm and imperfection, a combination that never gets old.

Calton is a utilitarian workhorse sans serif family. It’s designed to work in as many environments as possible, from small text to big headlines. The roman and italic styles work well for any typographical situation while the stencil really packs a punch and shines as a display family. The design has a hint of familiarity from classical humanist sans serifs, but the proportions are much more economical and the detailing is distinctly modern. All styles come in eight weights, from Thin to Black and the family is well suited for film and TV, advertising, editorial design, packaging, branding, logo, sports, web and screen design. The family is available in multiple bundle options so check out the different choices. The family package is available with a bargain price.

Cream Opera is a bold sans-serif font family. The combination of simple and geometric elements renders a bold design. It can be used to create almost all types of design projects like print materials and web design. Just use your imagination and your project will become more alive and vivid than ever with one of the Opera fonts. You want to make a greeting card or a package design, or even a brand identity? Feel free to play with all font styles, that will lead you to your next successful project. 10 styles (Thin, Light, Regular, Medium, Bold, Black, Outline, Inline, Stencil, and Western) Oblique font is available Numbers & Punctuation Extensive Language Support Thanks for looking, and I hope you enjoy it.

The Narsinh Series (from the 1940 Gujarati Type Foundry of Bombay, India) is a modular metal font comprised of 32 basic shape pieces which would be assembled into any configuration to form various letters and numbers. Examples of the alphabet and numerals were set in an Art Deco, condensed sans serif and were the basis for this type revival. Strongly resembling a stencil design, the typeface was named after the revered 15th-century poet-saint of Gujarat, India Narsinh Mehta, and the foundry itself gets its name from the language and script of Gujarati [spoken by the Indo-Aryan residents of the Indian state of Gujarat]. Divided Highway JNL is the digital version of this design, and is available in both regular and oblique versions.

This dynamic athletic block has the need for speed. VT Gladius is a display typeface loaded with energy and ready to take off. Each letterform is built on a system of angles that generate a distinct rhythm, drawing the eye through the shape, making every word feel more dynamic. Further reinforcing this are the slightly thicker baseline-adjacent horizontal stems — alluding to the ink-pooling that lower strokes have in traditional penmanship — creating a “bounce” that gives each letter that much more personality. For further customization, the “Disable Speed Cuts” OpenType feature and discretionary ligatures serve as another fine-tuning tool. With five weights, a stencil version, and oblique styles for each, this 12-font family is ready to kick things in to another gear.

LECO 1976 is a headline display typeface in OpenType format. The title at the 1976 bottle of Lečo became an inspiration for creating this font. Besides the regular weight of the font, the font is drawn in light and bold font styles too, while each of these typefaces consists of a special alternative of an embedded diacritic. The font contains several specific styles as Stencil, Pixel, Tride, Shadow which combinations offer interesting possibilities for the typesetting. The metrics and kerning of every glyph of the font (except several glyphs in Bold) are identical. All the signs share the same character and size of the capital letters. This font is best used on strong posters or as a headline display typeface.

Introducing Sunkist Agness Typeface The Sunkist Agness inspired by chill and playful street font combined with stencil font style. this font have rough and distorted shape which is become its own characteristic and uniqueness. Designed with 3 characters: Slab Serif, Sans Serif, and Serif, Sunkist Agness font is suitable to be combined into a playful and interesting combinations, not to mention the alternates from each characters that will add more uniqueness to your design! The "Sunkist Agness" are very easy to apply to any design, especially those with an retro and classic, army, playful and retro concept, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA).

Siruca is a font created specifically for the Al Hamra Complex, in Kuwait City, which includes the extraordinary Al Hamra Tower, one of the tallest skyscrapers in the world. Siruca is a stencil font designed to be used both by the classical forms, both for possible use with neon tubes. Indeed, the rounded ends and the total absence of sharp corners to prevent abrasion during the use of masks and, simultaneously, provide a realistic neon circuit designer. The typeface is accompanied by a series of pictograms (designed following the same guidelines described above) to be used on signs inside the building. The originality and versatility of the font Siruca™ makes it particularly suitable for the characterization of tainted brands from the strong recognizable.

Anaphora is a contemporary serif typeface designed by Francesco Canovaro with Cosimo Lorenzo Pancini and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to fat, each with true italics style, for a full range of editorial and advertising uses. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display sizes. Four additional stencil weights provide options for fancy titling and logo creation. Anaphora features an extended character set that covers over forty languages using the latin alphabet, as well as Greek and Russian Cyrillic. Open type features include small caps, four sets of figures, fractions, superior & inferior figures, alternate forms and discretionary ligatures.

“Redzone” is a versatile display family developed as the workhorse typeface for the “Ultimate Football League”, a fictional football league passion project. With a strong focus on the sports branding industry, “Redzone” has a voice that is competitive and sophisticated, its letterforms featuring angled terminals and sharp serifs across 5 weights and widths. Its generous x-height and overall build makes it especially capable for headlines, thought it serves well for shortened body type as well. The “Redzone” name was debuted in October of 2017 as a titlecase font (later refined and renamed “Redzone Classic”), redesigned in November of 2018 with sheared and stenciled styles, and is now presented in the most streamlined version yet with the same charming fearlessness still present. Enjoy!

A contemporary sans-serif typeface with an agreeable character, Doctrine Sans is the moderate comrade of the display typeface Doctrine Stencil. From the obscure starting point of the North Korean national airline livery, Doctrine was developed to encompass a series of more mature typographic influences. Doctrine draws influence from the classic mid-century neo-grotesques and, while it retains a sense of crisp modernity, it exudes a more contemporary and human character. The rounded, lighter weights speak with graceful composure while the large x-height, low contrast and squarer, heavier, weights give Doctrine an affable charm and a persuasive voice. The alternate characters borrow elements from humanist and geometric styles and provide an idiosyncratic, experimental counterpart to the primary character set.

BIG is an elegant condensed display font created for strong and impactful headlines. It comes from a series of hand printed specimens taken from wood type found in Andrew Howard’s Studio in Porto (Portugal). A wooden type that reassembles the industrial victorian style which has now been expanded to 20 cuts, ranging from ExtraLight to Bold, with Italics and a stencil version, covering all your needs for a striking visual effect just with plain type with distinctive features and personality, standing out from the crowded world of display sans serif. The font was engineered with essential OpenType features, that allows the user to compose the headlines in two different heights, with case-sensitive punctuation, symbols and special ligatures such as “the”, “of” and “le”.

Are you looking for a new font to add to your collection? Look no further than St Saturn, a retro serif font that is both stylish and versatile. Whether you’re designing a logo, creating a website, or working on a print project, this font has the potential to elevate your work to the next level. Keep reading to learn more about the features that make St Saturn unique and how to use it effectively. 7 Weights Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures and Alternate Glyphs Multilingual Support for ä ö ü Ä Ö Ü … Free updates and feature additions Thanks for looking, and I hope you enjoy it.

Vette Letters are thrilled to add maverick designer Dirk Uhlenbrock to the family, with the release of VLNL Bromfiets. Bromfiets (the Dutch word for moped) is a ‘holiday child’, the basic idea coming from a stop at a road junction in the Dutch coastal province of Zeeland. The Dutch signage, the black and white rings of traffic light poles, the symbols for brom- and snorfiets have always appealed to Dirk. While on vacation in Zeeland the first scribbles and digital drafts were created, always in mind that the typeface had to be striking, clear and friendly. The end result is more than that, a strong and instantly recognisable font with a matching dingbat weight full of icons and arrows. Stencil fonts have always interested Dirk, the informal character and the possible universal use as a paint- or spray-stencil on a wide variety of surfaces makes this type of font so interesting for me. The technically necessary dissolution of closed font contours always ensures a special aesthetic: What’HAT and HOW MUCH has to be removed or left, in order to make words easy to read and to avoid a fractal impression. Dirk Uhlenbrock has been working as graphic designer and illustrator in his hometown Essen, Germany for over 30 years. Always interested in typedesign he got in contact with Fontographer in 1996 and started to create and distribute loads of free fonts through his online platforms ‘Eyesaw’ and ‘Fontomas’. A bunch of these type experiments have been extented on request to complete fonts. Still located in Essen in 2009 Dirk started his second owner-based business erste liga büro für gestaltung - ersteliga.de

Storehouse Font is an old fashioned typeface with a modern touch. Inspired by tradition, hardworking brewers and 1800s it come up with 10 strong, confident and powerful styles, included: Regular, Italic, Thin, Black, Outline, Shadow, Used, Wide, Soft and Stencil. The font looks great when put on signs, shirts or labels of the bottles. Also, it works perfect as font for a branding and commercial uses. What is included: Shapes: 1.Storehouse Shapes EPS – EPS file 2.Storehouse Shapes PDF – PDF file Fonts: Storehouse Regular - OpenType font file - Regular old fashioned typeface with a modern touch. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Thin - OpenType font file - Thin version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Wide - OpenType font file – Wide version, big spaces. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Black - OpenType font file - Extra, extra bold version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Outline - OpenType font file – Outline version of regular version, amazing in matching with regular version as a back shadow. full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Shadow - OpenType font file – Old fashioned shadow of regular version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Italic - OpenType font file – Regular version with smooth edges. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Soft - OpenType font file - full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Stencil - OpenType font file – Stencil font with amazing old fashioned modern touch. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Used- OpenType font file – Softer edges, smooth lines. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Multilanguage Support: English, Albanian, Danish, Dutch, Estonian, Croatian, Bosnian, Slovenian, Finnish, French, German, Icelandic, Italian, Norwegian, Portugese, Spanish, Swedish with a lot of other languages; see Full Character List. Note: To access the extra alternate letters, you will need to use the glyphs panel. Many design programs offer this ability, including Adobe Photoshop CC 2015 , Adobe Illustrator, Adobe Indesign. Works with Cricut, Silhouette, PicMonkey, Photoshop, Illustrator and many more applications!

CAPUT is a typeface consisting of only capitals with the appearance of a handwritten font, due to the many ligatures. Written with a soft pencil, the resulting structure fits in with the quirky and raw look of the typeface. It’s very suitable for headlines, posters and packaging design. Enjoy!

In The Sun is a SVG font made from pencil handwriting and doodles. The SVG format allows for the texture of the pencil to be captured in a realistic way. In The Sun looks best at smaller sizes and will also look great in all caps texts. Use In The Sun in designs such as postcards and notes, posters, logotypes, social media posts, branding and packaging. In The Sun includes: In The Sun handwritten font In The Sun Extras font, with underlines, circles, arrows, and small floral illustrations in: SVG format and Vector format, with the texture preserved Software requirements for the SVG font: Photoshop CC2017+ // Illustrator CC2018+ No SVG support? No problem! I have also included a OTF vector version of the font

Markin is named after the writing utensil with which it looks like it was drawn, the marker. Its even strokes display characteristics similar to those of a sans serif typeface, but the stroke endings with their typical handwritten look give Markin a personal touch. Extremely versatile, it is the perfect choice for any work where individuality and spontaneity are the emphasis.

Australian typographer Harry Pears continues to explore ancient type forms while maintaining his consultancy business Typeface Research Pty. Ltd., of Lake Cathie, Australia. Born in Quirindi, Australia, Harry has had a long career in printing and graphic arts and has been the guiding force behind the creation of the Lindisfarne Nova family. Lindisfarne Nova Incised and Lindisfarne Runes are wonderful illustrative companions to the Lindisfarne Nova text fonts. In a unique partnership, Harry develops the concepts, and calligrapher Margaret Layson brings the designs to life. They both then work on the digital incarnation in a true collaboration.

John Baskerville spared no effort to create the ultimate typographic book. He prepared deep black inks and smoothed paper to show to full effect the letters that he had John Handy cut from his own brilliant designs, based on a lifetime of calligraphy and stonecutting. Punches and matrices survive at the Cambridge University Press. The present design is an accurate recutting, with particular attention to George W. Jones’ revision from the metal of Baskerville’s English (14pt) roman and italic in 1929 for Linotype & Machinery Ltd; Mergenthaler Linotype imported this design to the USA two years later.

STF Eclectic Three contains dingbats and a special set of glyphs which make it simple and easy to create registration and fill-in forms for print materials. Create rules with hash lines, fill-in boxes and many other variations. Also includes handicapped, recycled and arrow right/left symbols. The Eclectic family is legendary, with a cult-like following among the inititated. With over 100 characters in the complete set, you'll find yourself using Eclectic Three almost daily to add spice to your otherwise san-serif typographic existence. Available in Mac and PC formats. License it today!

Each year whalers from Japan kill more than 1000 whales. Japan says that the killing of whales is a 'cherished Japanese tradition', and that it is taking 'scientific data'. A portion of the whale meat is canned and marketed as 'traditional food'. How sad is that? A huge whale being reduced to a chunk in a can… Canned Whale is a hand drawn, outline style font with a cartoonesque twist to it. It can be used in ads and posters, it can be filled in with color, or kept as an outline. Canned Whale comes with extensive language support.

The advertising font Kometa(Komet) was released in 1907 by the typefoundry Benjamin Krebs Nachf., Frankfurt, M.,. The digital version was created in 2015 on the basis of stamp from the catalog "foundry and factory copper lines B.Krebs Successor" St. Petersburg and Frankfurt. In 2017 the font was modified.

A high quality hand rendered pencil script that includes a variety of contextual alternates to ensure the best handwritten look. Frank Reaction works brilliantly when used for both display and body copy and it is available for both print and web application. Use Frank Reaction to give your work personality and life.

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.

The Gabriela project is of great importance to us since it is the first font published by Latinotype México which is our brand-new sister foundry in Mexico. Gabriela, yet more versatile, shares all of its DNA with Gabriela Stencil. The font is an excellent choice for short and medium-length text. Gabriela is a Didone typeface well-suited to classy branding and editorial designs. Its alternate version includes swashes and more than 300 glyphs and 75 ligatures, allowing for more stylized designs. It may look different from its "regular" counterpart, but the essence of both is the same. Gabriela comes in 9 styles, ranging from Thin to Black, and includes matching true italics. Each font weight has an average of 750 characters which support more than 200 Latin-based languages.

Introducing KIDROS Typeface The KIDROS font is designed with a sans serif font concept that has a retro display stencil style. Irregular dynamic shapes but impressively regular and unique make the font "KIDROS" different and steal attention. Sans serif typefaces such as "KIDROS" are very easy to apply to any design, especially those with an retro, vintage and strong, besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The "KIDROS"contains 540 glyphs with many unique and interesting alternative options. Plus, there's a cool sans serif font family for header and description text from thin to heavy to thin. In the poster preview all the letters are in the KIDROS typeface.

ArchiLogo is not a regular outline-font. It has a stencil element to it and it’s a kind of indirect, because the font is basically the space between the lines. You have to read between the lines, so to speak. It’s like one of the key elements in architecture: the space between the walls. Here’s where type design meets architecture! The new version, ArchiLogo 3.0, has been improved slightly and 13 glyphs have been added to a total of 85 characters. It is still a free font. Because of the popularity of this font I decided to introduce ArchiLogo Pro. Indeed, the pro version of ArchiLogo. Besides the basic Macintosh Character Set the supported languages are Latin 1, Latin 2: Eastern Europe, Turkish, Windows Baltic. It grew to over 300 glyphs.