Introducing "Ruskye" - Your Original Hand-Drawn Retro Lettering Font Step into the nostalgic embrace of "Ruskye," a font crafted with a blend of original hand-drawn charm and retro lettering vibes. Perfect for posters, invitations, and vintage-themed branding projects, this font encapsulates the essence of a bygone era, offering a timeless touch to your designs. Key Features: Original Hand-Drawn Craftsmanship: Each character in "Ruskye" is meticulously hand-drawn, adding a touch of authenticity to your projects. Retro Lettering Vibes: Immerse your designs in the classic charm of retro lettering, making "Ruskye" an ideal choice for projects seeking a vintage aesthetic. Why Choose "Ruskye": Craft posters that evoke the timeless spirit of hand-drawn artistry. Design invitations that transport recipients to the golden era of retro aesthetics. Establish a brand presence with a font that effortlessly captures the essence of vintage lettering. Download "Ruskye" Now and Infuse Your Designs with Timeless Retro Charm!

Flefixx is a typeface designed to support a project "Flefixx", an idiosyncratic visual language and typeface system that unfolds narratives based on common combinations of letters. In this visual language, just as individual letters come together like puzzle pieces to form different meanings or words based on combinations, the typeface is also constructed from fragmentary elements, each playing a distinct role as if they are individual pieces. The intentional exposure of the intersections of these fragments emphasizes the typeface's creation through interconnected elements. Furthermore, diacritics and dots are strategically positioned as ornaments, enhancing their presence within the gaps between letters. This concept aligns with the theme of composition and connectivity among fragments, allowing strong rhythmic patterns to emerge as letters and symbols blend in a paragraph. Additionally, the prominent and bold punctuation marks serve to provide pauses and clarity within sentences that incorporate both letters and the visual language. They contribute to articulating sentence structure amidst the dynamic flow of sentences with combined characters and visuals.

The letters of Bihext fit into the trapezoids formed by bisecting hexagons from the top corner to the bottom corner. Because these trapezoids have two orientations, there are two sets of characters and the typeface was designed assuming that the user would want to alternate these two character sets. The alternating of characters is done automatically with the OpenType feature of contextual alternatives (calt) in applications that support it. The typeface is monospaced with very tightly letter spacing. If the letter spacing seems too tight, consider alternating colors to make the individual letters stand out as an alternative to loosening the letter spacing. Almost certainly the user will need to adjust line spacing if more than one line of text is used. The family includes an outline style that can be used in a layer above the filled style. A decorative, display face, Bihext is too difficult to read to be used for long text.

The inspiration source for Memoriam Initials is the 1934 Book of American Types by American Type Founders. In that specimen book, they had created a sophisticated two color initial design they called “University Initials” which was only available in metal type at 24, 36, and 48 points. This wonderfully detailed initial style is now digitally recreated and revived for modern use. Memoriam Initials is only capable of initial or single letter monograms due to its unique design. The two color aspect of the original design has been preserved and made accessible within all programs. The Capital character slots contain the background color glyphs, and the lowercase slots hold the outline art for the letters. You can choose a color, type a capital letter, then switch to black and type a lowercase letter for the two color effect, or just type a lowercase letter on its own. It’s that easy! Download and view the Memoriam Initials Guidebook if you would like to learn a little more.

A typeface design with extra isolated scattered letters and random careless look. It has six members, normal, bold, and medium, all of which come in two styles, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Fallujah employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Fallujah includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

Meltifex is a heavy font with melting letters, disappearing at the bottom.

The killer way font basically form script with hand lettering brush style.

A casual retro script refined and developed from some old handwritten letters.

Stencil Allround is a rounded capital letter font made for display use.

Handwritten letters are great for scrapbooking, cards, invitations and other fun things.

Eiger, a great display font by Intellecta Design. Contain only capital letters.

KG Camden Market Script is a whimsical, hand-lettered brushstroke watercolor font.

Inspired by hand written letters on a street sign in Tel Aviv

Campi, a great display font by Intellecta Design. Contains only capital letters.

Syntachron is an extraordinary monospaced font that stands out with its futuristic and mecha-inspired design. What sets this font apart is its unique ability to combine simplicity, modernity, and boldness, resulting in a visually captivating typeface. It is the perfect choice for those seeking to create impactful posters, eye-catching marketing materials, captivating logos, attention-grabbing headlines, and engaging book and magazine layouts. One of the distinguishing features of Syntachron is its compatibility with the Cyrillic alphabet, offering versatility and style for a wide range of design projects. Whether you're working on international branding campaigns or multi-language publications, this font seamlessly integrates with the Cyrillic characters, ensuring consistency and cohesiveness across different languages. In terms of typeface pairing, Syntachron harmonizes exceptionally well with related families and typefaces that share its sleek aesthetics and futuristic vibe. It complements and enhances other fonts, enabling designers to create stunning combinations that amplify the impact of their designs. Beyond its striking appearance, Syntachron excels in its functional aspects. The font comes in a variety of styles, allowing for versatility in design choices. Its monospaced nature ensures consistent character widths, making it ideal for code snippets, technical documentation, and typewriter-style layouts. Furthermore, Syntachron offers a comprehensive character set with special features, enabling the seamless creation of diverse and engaging designs. The design concept behind Syntachron was to capture the essence of a futuristic world and merge it with the mechanical elements of mecha-inspired aesthetics. The result is a font that exudes a sense of cutting-edge technology and boldness, empowering designers to create visually striking and impactful designs that captivate their audience. Syntachron was meticulously created to fulfill the need for a font that seamlessly merges modern simplicity with futuristic design elements. Its purpose is to provide designers with a versatile tool that sparks creativity and enables them to craft stunning visual experiences. With its sleek aesthetics, support for the Cyrillic alphabet, and functional aspects, Syntachron is an indispensable asset for any design project seeking to embrace the future.

Film Fiction Semi Expanded has been updated and will now beautify your designs under the name TA Film Fiction Semi-X. We've already updated and revitalized TA Film Fiction Semi-X to ensure it perfectly matches your evolving creative vision. The inclusion of tabular figures, old-style figures and alternative glyphs expands your design palette and allows you to adapt the font to your unique style. TA Film Fiction Semi-X has been updated experience the appeal – this can be your font of choice to enhance your brand identity, cinematic efforts and editorial design. This brilliant typeface is not just a typographic tool, but a creative catalyst for headlines, logos, web elements, signage, posters and fashion apparel, packaging. TA Film Fiction Semi-X does not follow trends, it defines them, imbuing each project with a true modern essence. Embrace the possibilities with 9 different styles, each boasting a large set of 758 glyphs. Discover OpenType features: Access All Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Subscript, Superscript, Tabular Figures TA Film Fiction Semi-X supports Khinalyg (Xınalıq) alphabet Test your alphabet, explore the nuances and witness the transformation. And if you're at any creative crossroads, I'm here for you. If you want to customize TA Film Fiction Semi-X, need font files or have any other questions, please reach out to me at t@taft.work. TA Film Fiction Semi-X be the cornerstone of your creative journey. Elevate your designs, embrace innovation and redefine possibilities with TA Film Fiction Semi-X, where each character tells a story. Questions? Contact us at t@taft.work Instagram @taft.work or @tural_a Visit us https://taft.work/

Cursivo Saxonio is a typeface inspired in the famous book The Case of Charles Dexter Ward, by H P Lovecraft. It shows better than I get with my studies the authentic "Insularis" or "Cursivo Saxonio" handlettering of the VIII and XI centuries used by some people in Britain. The text on the accompanying poster reads: “Corwinus necandus est. Cadaver aq(ua) forti dissolvendum, nec aliq(ui)d retinendum. Tace ut potes”

Shakila Script is a handwritten font created at the end of March 2021. It is a unique bold font with a pretty and charming casual style with many variants of beautiful swashes, as well as an alternative to capital letters. Shakila is a lovely and delicate font duo (script and sans serif), that exudes elegance and class. This font was particularly crafted for those who need a beautiful and refreshing look to their designs. Also, this font is perfect for branding projects, logo, product designs, invitation cards, wedding cards, stationery designs, advertisements, label, photography, blogging, social media or watermark. Key Features: - Multilingual Accents - Alternative capital letters - Stylistic Alternates up to 20 choices - Has a heart connected feature for a-z and A-Z letters - Available shortcut for Stylistic Alternate by simply adding "period" (.) and “number” (1-20) to each letter. - Has lots of ligatures so the letters connect well together - Has OpenType and PUA Encodes features. This font has a total of 885 glyphs, including capital letters, uppercase alternates, lowercase, numeral and punctuation, multilingual accents, beginning and ending swashes for lowercase, and includes a large number of stylistic alternates and heart swashes (for lowercase-lowercase and uppercase-uppercase). The advantage of the Shakila Script font compared to other fonts is that the alternative capital characters are in 1 font file, so it will make it easier for you to work. Therefore, you are free to choose it as you like, especially this font has the OpenType and PUA Encodes features which means you can access all of the glyphs and swashes with ease. As I mentioned earlier, Shakila Script has a large number of Stylistic Alternates features, up to 14 options for letter a-z and up to 20 options for letter b d h k l. In fact, there is also a swash feature in the form of a connected for the combination of each lowercase-lowercase and uppercase-uppercase letters. Interestingly, you can activate all Stylistic Alternates that are owned by each letter, just by typing; letter + period + number. For example: a.1 a.2 a.3 or b.1 b.2 b.3 and so on. As for activating the heart connected for each letter a-z or A-Z is quite easy. Namely by simply typing; letter + underscore + underscore + letter. For example: a__a or A__A and so on. Shakila Script is a Font Duo pack that pairs with Shakila Sans. The two were created at about the same time, but made in separate file packages. The reason I created this font duo is to make your projects more harmonious and unique. At the end of the sentence, Shakila Font Duo is a very authentic and amazing. If there are things you want to ask, don't hesitate to contact my email. For complete details, please visit my Behance profile. Alifinart Studio alifinart@gmail.com Thank you.

Those who design books for young children should consider the different needs of their readers. When laying out pages for young readers, particular care should be taken over word spacing. Don't forget that justifying short lines disrupts spacing. Justification should be used only when absolutely necessary. In the research undertaken with young readers the importance of consistent spacing was clear. It also appeared that the poorer readers profited from wider word spacing, while spacing that suited the poorest readers, positively annoyed the better readers. These typefaces have built-in letter spacing because of their exit strokes, as well as extra clarity designed into them. Sassoon Primary Medium Condensed is a compact style for headlines combining the right amount of weight, yet in a friendly style. When used at large sizes the friendliness of Sassoon types really shines. Why not use it for headings throughout a book. You can find many other new ways to use this typeface. Ideal perhaps for the masthead or a magazine? Free to download resources: How to access Stylistic Sets of alternative letters in these fonts

Beach Please - Is a suite of handwritten fonts designed with pointed brush and watercolors. Beach Please Script is a relaxed and tender brush font, inspired by sign painting. The aim was to give a fun and fresh twist, exaggerating some curves and punctuation signs. There are also many alternates and swashes included accessible through opentype. Beach Please Caps & Wide have a bizarre look because of the reversed contrast on some letters, this particularity gives to the font a total new expression perfect for catchy headlines. Beach Please Wide works better when you need to use it in smaller sizes. It is full of ligatures to give to your text a realistic handwritten feeling. Beach Please works very will with our font family 'Aperó' We also present in this font family a slanted version for each font. To complete the Suite a set of tropical and fruity icons is also available. These sketchy vintage illustrations are perfect to create beautiful letterings and graphic layouts. Enjoy it! More about Opentype Features: https://bit.ly/opentype-rsz

Mi Casa is a new condensed version of our Home Style font which is a revival of an old 1800's classic ornate French font. This new 2021 condensed version takes this old classic to an all new level by adding small caps, italics and a new black version. Mi Casa is perfect for headlines and logos from advertising to product labels, t-shirt lettering and restaurant menus. Fill fonts are also part of this family, new to this font style is the half fill font for creating a two color effect on the letters, you'll need an application that works in layers to use the fill fonts in Mi Casa. The regular fill font for Mi Casa isn't meant to be used as a stand alone font so we've created a solid black version with thicker serifs on top and adjusted outlines throughout for a better appearance as a solo font. We hope you enjoy Mi Casa as much as we did making it. Mi Casa is a trademark of FontMesa LLC

Our Bazaruto family was inspired by an old fashioned specimen from “Letters and Lettering” by Carlyle & Oring, but you'll find the inspiration has been greatly expounded upon. What began as an all Capitals specimen has been fleshed out to an extended full character set with many features and variants from the original design. Bazaruto has been an exercise in typographic evolution. The original Art Deco style spawned an Engraved version, then a Bodoni-esque text style, and then a monoline version of that text style (both of the latter complete with Obliques). But after that is when the real interpretations of form began with the development of the Iron fonts, playing off the original specimen having a visual flavor of wrought ironwork in them, and blending that into the Bodoni-esque typestyles. Lastly, a fast and loose hand drawn version of the Iron fonts and an ornaments font were created to add more variety and spunk to the family. The Bazaruto family is a visual grab bag of styles which all have an underlying harmony.

Delphi grew from a logotype Lily Feinberg produced using Greek-column-inspired letterforms. As that concept expanded to include more and more letters, the typeface had its beginnings. Intertwined, kinetic, and deliberate, Delphi carves itself onto the page and screen, encouraging variation and experimentation. The letterforms’ unique construction and predispostion for experimentation inspired two varying sets: Delphi Dio, comprised of two-line strokes, and Delphi Tria, built of both 2- and 3-line strokes. With a design as elaborate, yet tightly tuned as this, the desire to add more and more was irresistible—you'll see a number of stylistic, swash, and titling alternates (and even more hidden away in further stylistic sets). Because Dio and Tria could only hold so much, alternate cuts were produced to better organize your options: the Delphi Alt fonts feature certain letter styles and stylistic alternate sets distinct from those in Delphi. Delphi’s sophisticated, striking letterforms make it an ideal display face for use at large sizes, and with so many unique details and alternate letterforms, it’s simply fun to use.

The famous roman type cut in Venice by Nicolas Jenson, and used in 1470 for his printing of the tract, De Evangelica Praeparatione, Eusebius, has usually been declared the seminal and definitive representative of a class of types known as Venetian Old Style. The Jenson type is thought to have been the primary model for types that immediately followed. Subsequent 15th-century Venetian Old Style types, cut by other punchcutters in Venice and elsewhere in Italy, are also worthy of study, but have been largely neglected by 20th-century type designers. There were many versions of Venetian Old Style types produced in the final quarter of the quattrocento. The exact number is unknown, but numerous printed examples survive, though the actual types, matrices, and punches are long gone. All these types are not, however, conspicuously Jensonian in character. Each shows a liberal amount of individuality, inconsistency, and eccentricity. My fascination with these historical types began in the 1970s and eventually led to the production of my first text typeface, Iowan Old Style (Bitstream, 1991). Sometime in the early 1990s, I started doodling letters for another Venetian typeface. The letters were pieced together from sections of circles and squares. The n, a standard lowercase control character in a text typeface, came first. Its most unusual feature was its head serif, a bisected quadrant of a circle. My aim was to see if its sharp beak would work with blunt, rectangular, foot serifs. Next, I wanted to see if I could construct a set of capital letters by following a similar design system. Rectangular serifs, or what we today call "slab serifs," were common in early roman printing types, particularly text types cut in Italy before 1500. Slab serifs are evident on both lowercase and uppercase characters in roman types of the Incunabula period, but they are seen mainly at the feet of the lowercase letters. The head serifs on lowercase letters of early roman types were usually angled. They were not arched, like mine. Oddly, there seems to be no actual historical precedent for my approach. Another characteristic of my arched serif is that the side opposite the arch is flat, not concave. Arched, concave serifs were used extensively in early italic types, a genre which first appeared more than a quarter century after roman types. Their forms followed humanistic cursive writing, common in Italy since before movable type was used there. Initially, italic characters were all lowercase, set with upright capitals (a practice I much admire and would like to see revived). Sloped italic capitals were not introduced until the middle of the sixteenth century, and they have very little to do with the evolution of humanist scripts. In contrast to the cursive writing on which italic types were based, formal book hands used by humanist scholars to transcribe classical texts served as a source of inspiration for the lowercase letters of the first roman types cut in Italy. While book hands were not as informal as cursive scripts, they still had features which could be said to be more calligraphic than geometric in detail. Over time, though, the copied vestiges of calligraphy virtually disappeared from roman fonts, and type became more rational. This profound change in the way type developed was also due in part to popular interest in the classical inscriptions of Roman antiquity. Imperial Roman letters, or majuscules, became models for the capital letters in nearly all early roman printing types. So it was, that the first letters in my typeface arose from pondering how shapes of lowercase letters and capital letters relate to one another in terms of classical ideals and geometric proportions, two pinnacles in a range of artistic notions which emerged during the Italian Renaissance. Indeed, such ideas are interesting to explore, but in the field of type design they often lead to dead ends. It is generally acknowledged, for instance, that pure geometry, as a strict approach to type design, has limitations. No roman alphabet, based solely on the circle and square, has ever been ideal for continuous reading. This much, I knew from the start. In the course of developing my typeface for text, innumerable compromises were made. Even though the finished letterforms retain a measure of geometric structure, they were modified again and again to improve their performance en masse. Each modification caused further deviation from my original scheme, and gave every font a slightly different direction. In the lower case letters especially, I made countless variations, and diverged significantly from my original plan. For example, not all the arcs remained radial, and they were designed to vary from font to font. Such variety added to the individuality of each style. The counters of many letters are described by intersecting arcs or angled facets, and the bowls are not round. In the capitals, angular bracketing was used practically everywhere stems and serifs meet, accentuating the terseness of the characters. As a result of all my tinkering, the entire family took on a kind of rich, familiar, coarseness - akin to roman types of the late 1400s. In his book, Printing Types D. B. Updike wrote: "Almost all Italian roman fonts in the last half of the fifteenth century had an air of "security" and generous ease extremely agreeable to the eye. Indeed, there is nothing better than fine Italian roman type in the whole history of typography." It does seem a shame that only in the 20th century have revivals of these beautiful types found acceptance in the English language. For four centuries (circa 1500 - circa 1900) Venetian Old Style faces were definitely not in favor in any living language. Recently, though, reinterpretations of early Italian printing types have been returning with a vengeance. The name Vendetta, which as an Italian sound I like, struck me as being a word that could be taken to signifiy a comeback of types designed in the Venetian style. In closing, I should add that a large measure of Vendetta's overall character comes from a synthesis of ideas, old and new. Hallmarks of roman type design from the Incunabula period are blended with contemporary concerns for the optimal display of letterforms on computer screens. Vendetta is thus not a historical revival. It is instead an indirect but personal digital homage to the roman types of punchcutters whose work was influenced by the example Jenson set in 1470. John Downer.

Lettering on the sheet music cover for the title song from the 1957 Marlon Brando movie "Sayonara" was the model for Pacific Island JNL. The design has an Asiatic influence, but also reflects a bit of show card lettering as well. Available in both regular and oblique versions.

Union Station is based on the transit scroll lettering displayed in Denver’s Union Station. The letter shapes are reminiscent of grotesque sans serif typefaces of the same era with quirky details left by the artist’s brush. The typeface gives a sense of rugged Americana and a handcrafted spirit.

Noka is a powerful display geometric sanserif with a lot of personality. Its clean structure refers to a more digital and technological atmosphere. Letters P F T L are narrower than usual to create a distinct feeling. Diagonal strokes of letters V v W w A are parallel.

Aye, me lovelies, this be Scurvy Dog, a grand font! The letters were etched into a dead man's chest with a blunt rapier, pickled in brine and covered in spew. Ye could be using this crafty penmanship for yer logs or writing yer dear ol' mothers a letter.

Murderous desire for grunge! Grunge is timeless, and Murderous Desire is worn and torn, yet very legible. Great for massive text or headlines! Comes with different lower- and uppercase plus alternate letters and on top of that, ligatures for double letter! Go crazy, go grunge - and use Murderous Desire!

MD-Type Rounded is a modern, stylish font family. The family consists of five fonts (Regular, Bold, Light, Block, Black) which are formed by all capital letters. The strong and accented letters were rounded on the corners and therefore softened. The font family supports Turkish language as well.

Named for a Manhattan neighborhood, Morningside Heights JNL is based on lettering found on a 1920s-era piece of sheet music. Part of the charm of hand lettering from the Art Nouveau era is found in the non-standard line thicknesses, experimental character shapes and varying character widths.

Martin&Hellen will be perfect for wedding lettering, beautiful frame for your home, book covers, greeting cards, logos, marketing, magazines or anything that requires cute handwritten lettering :) What's inside: Martin&Hellen.otf Multilingual support Cricut support Swashes If you have any questions, please contact me directly or in instagram @superdizigner

Introducing my new font "Queenzy" Queenzy is made by paying attention to details on each letter so that it produces a beautiful arrangement of letters that can be used in each of your design work. I hope you like my creation.This font is also made in an italic version

Magic Charm will be perfect for wedding lettering, beautiful frame for your home, book covers, greeting cards, logos, marketing, magazines or anything that requires cute handwritten lettering :) What's inside: - Magic Charm Script - Multilingual support - Cricut support If you have any questions, please contact me directly or in instagram @superdizigner

Cift Serif is inspired by the work of charming lettering artists with a combination of Old Style Display Bold. Each letter is modified so that the distance, width and weight can give the beauty of the alternates given. A passionate curve gives a touch of beauty to this font.

Daisy Flowers will be perfect for wedding lettering, beautiful frame for your home, book covers, greeting cards, logos, marketing, magazines or anything that requires cute handwritten lettering :) What's inside: Daisy Flowers font Multilingual support Cricut support If you have any questions, please contact me directly or in instagram @superdizigner

What started as an image of a single vintage brass stencil of the letter 'P' spotted in an online auction has turned into Blacksmith JNL. From that single letter Jeff Levine has created a complete Western stencil font, retaining the hand-made look of the original stencil piece.

Rotham Industrial. Stylised lettering for industrial flavoured projects. Imagine, if you will letters shaped from metal tube, or perhaps from a solid rod, or perhaps made from brass handrails? You get the idea. A stylised and fun typeface for those occasions where you want to suggest an engineering influence.