Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. A biography/story of each homeless person captures their story, to help raise awareness and bring some dignity to the life of homeless people. Monotype is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Salvador was born in a small village in the province of Seville, Spain where he lived until 2002. During many years he worked in restaurants, construction, and in the fields, until he decided to go try his luck in Palma de Mallorca. There he worked in hotels and in construction, until the economic crisis erupted and he was left without work or benefits of any kind and he began to live in the street: “The street has few good things, but it teaches you to be more selfless, to share with others what you have, even if it isn’t much.” In 2006, a friend encouraged him to come along to Barcelona and bought his plane ticket. Once there, things did not go much better and he had to continue living in the street. A year ago he left behind that life and now he explains his experience in guided tours to school groups: “I like it because I see that many of them are interested and they ask questions. It is good that they learn.”

This is Bolyar Sans font family. For us it is a dream-come-true. It took more than 1 year hard work to transform the existing Bolyar Pro from Serif to Sans Serif version. The result really surprised even us from The Fontmaker and we decided to develop it in 9 instead of 7 weights. So at the end we created 7 different styles of Bolyar sans each consisting from 9 precise weights. Bolyar Sans is not just another font family in our portfolio - it is the essence from all our efforts thru the past 5 years to create a powerful type tool that could easily meet very diverse and complex demands of modern design. Furthermore, like all its predecessors, Bolyar Sans is a type concept created by Designers for Designers. If you are in wine and spirits industry, packaging design, or you just love to work with strong headlines that effortlessly could turn into brand logos, then you should definitely try our Bolyar Sans. It is designed for this. Of course there are plenty of different features like multilingual support, ligatures, alternates, we even added adaptive over- and underlining to make it even more complex in its use. Bolyar Sans pairs perfectly with other members of Bolyar Family - Pro , Ornate and Typecraft . So as you see Bolyar is developed as a type platform with own character and style. By using it you could be vintage, classic, modern, soft, even bold, rough and ornate. It is a visual bridge between different typographic periods united under Bolyar name. With our Sans version we aim to be contemporary and to provide powerful type tool to those designers who often love to swim between past and modernity.

The requirements of Middle Ages scribes who copied and produced books in monasteries were fundamentally to preserve space, due to the high cost of the writing surface. During this long period of the development of Gothic forms, many other variations of the style of black letters appear: Textur or “Gothic-antique”, another group called Rotunda preferred by Italian and Spanish scribes. In 1490, the style "Bâtarde" (according to the the French classification) began to be widely used in Germany with more rounded shapes and named Scwabacher (probably derived from the city of Schwabach, but not certified) Fractur is a more condensed and narrower form than Schwabacher. This style is attributed to Johann Neudörfer of Nuremberg, cut in 1513; it was quickly imitated, therefore a few years later became to be a German national identity that extended over the next four centuries. The shape of its characters can be considered as a fusion of Texture and Schwabacher: the lowercase actually has medium strictly vertical and half curved strokes. The first expressions of the baroque influence this writing whose appearance of movement is due to the ornaments applied to the uppercase letters and the ascending and descending features of the lowercase. Despite having spent so many years and being a typeface not suitable for extensive reading texts, the Gothic Fractur has endured over time for possessing a strong and solid characteristic, as well as being closely linked to the spirit of gothic cathedrals of countries in northen Europe. In fact, it is probably that this expressive feature leads them to be chosen in the most varied graphic communication needs, which run from from banks and financial companies, insurers, law offices, publishers, newspapers and TV networks, till alcoholic drinks, funeral tombstones, packaging and even tattoos.

Meet Osbert, the font that effortlessly marries vintage charm with a contemporary flair. Imagine the nostalgic allure of old tin labels, now reimagined with a fresh twist. With its playful flared serifs and diagonal bars, Osbert brings a touch of modern to classic aesthetics. Boasting a whopping 15 static styles and a variable font, Osbert offers a playground of possibilities for designers. And with three distinct sub-families - text, regular, and display - finding that perfect balance in your designs has never been easier, whether you're crafting some typographic badges, editorial, logo, branding, poster, print, signage, etc. So go ahead, let Osbert add a touch of timeless coolness to your next project!

Fun Signs JNL comprises twenty-six humorous signs from a 1930s-era sales list of products manufactured by the Koehler Sign Company of St. Louis, Missouri. Koehler manufactured a large line of stock cardboard "Blue Signs" (presumably blue backgrounds with white lettering) and alongside the many standard phrases used by various businesses was a list of funny sayings. Such placards were bought by merchants to either evoke interest in their services (such as in a bar or restaurant, or jokingly comment on their business policies (as in credit billing). These novelty signs are a fun addition to a flier, ad, web page or announcement and will leave your readers smiling.

ITC Malstock is the work of Czech designer Frantisek Storm. The idea is based on a sign painting technique that uses a flat brush and a Maalstok, a long bar with soft padding which is used as a rest for the painter's hand and a guide for vertical lines. The strokes of this font end with a split stem which recalls the traces of the writer's brush. ITC Malstock is a narrow typeface which is ideal for headlines, invitations and advertisements. The designer recommends combining his typeface with others, to create harmony with sans serif typefaces in text sizes or contrast with serif typefaces.

During a ‘type walk’ at the 2007 AtypI conference in Brighton, typographer Phil Baines pointed out what he considered to be a particularly egregious example of over-decorative art nouveau lettering on a war memorial. This made me determined to use it as the basis for a font. Released in Opentype, it now features ligatures, swashes and alternates. It’s not certain if the curved top bars on the E and F are a feature of the original design or due to climbers using them as footholds, but I incorporated them anyway. It has recently been used for invitations and supporting print material for formal charity dinners at the House of Lords.

Many items we use in our day-to-day lives offer wonderful source material for font designs. Mailbox Letters JNL was inspired by a set of self-stick adhesive letters used on mailboxes, doors and other areas of identification at home or in business. Each letter, number and punctuation mark is centered on a black rectangle - just as the actual model for this font. Use it as spaced, or hand set it tighter to form a ribbon with white-on-black text. To provide continuity for the ribbon effect, a blank rectangle is provided on the vertical bar key (the shift position of the backslash key). Limited character set.

Nürnberg (Nuremberg in eng.) New blackletter-sans font family in modern look with contrasts elements in six widths. Impressive style with non-typical Blackletter uppercases as alternates and normal Sans as standard. In the company with good-looking lowercases and their alternates you can get outstanding result for your project. Six widths give you wide range of use. Massive Bold or Black will be really good in none-long magazine headlines, some logos or cafe/bar signs, menu's or coffeeshops. Medium or Regular is for normally (not giant) text blocks or any of accented texts. Light and Thin are good in big pt. Short word forms or numerals is just awesome.

Created in 2009 by V.H. Fleisher, Monod is a geometric sans-serif typeface. The font has OpenType features that can be accessed in programs like the Adobe Creative Suite. These features include titling caps which are heavier & more tightly spaced than the regular caps, alternative punctuation marks, and arbitrary nut fractions (for single digit numerators & denominators). By clicking on the "gallery" tab above, you can see an illustration of the OpenType features. The "ff" tab on the "Sample Text" bar below allows you to test the OpenType features with your own text. Supported languages include: Albanian, Czech, Danish, Dutch, English, Faroese, Finnish, French, German, Icelandic, Italian, Norwegian, Portuguese, Spanish & Swedish.

A cheerful handwritten font family composed by 8 fonts. 5 slab weights, 2 slab effects and a sans serif. Handmade, friendly and classy, this family is inspired in one of our favorite traditions in Torino, “ L'Aperitivo ”. The social event every afternoon! Before dinner friends meet in the local bar and spend the time together eating, drinking, talking, laughing and eating and drinking again. Handwritten to get a friendly and human feeling. Letterforms specially designed to take the charming mood of this event. The sans serif has been inspired in some letterings found in old local liquor labels. Check out also ‘Modern Love Slanted’ Turquoise Nautica

Almost a half of a millennium after being mistaken for the original 4th century Gothic alphabet and falsely labeled "barbaric" by the European Renaissance, the blackletter alphabet was still flourishing exclusively in early 20th century Germany, not only as an ode to Gutenberg and the country's rich printing history, but also as a continuous evolution, taking on new shapes and textures influenced by almost every other form of alphabet available. Blackletter would continue to go strong in Germany until just before the second World War, when it died a political death at the height of its hybridization. For almost 50 years after the war, blackletter was very rarely used in a prominent manner, but it continued to be seen sparely in a variety of settings, almost as a subliminal reminder of western civilization's first printed letters; on certificates and official documents of all kinds, religious publications, holiday cards and posters, to name a few. In the early 21st century, blackletter type has been appearing sporadically on visible media, but as of late 2005, it is not known how long the renewed interest will last, or even whether or not it will catch on at all. The last few years before World War II were arguably the most fascinating and creative in modern blackletter design. During those years, and as demonstrated with the grid-based Leather font, the geometric sans serif was influencing the blackletter forms, taking them away from their previous Jugendstil (Art Nouveau) hybridizations. Blackhaus is a digitization and elaborate expansion of a typeface called Kursachsen Auszeichnung, designed in 1937 by Peterpaul Weiss for the Schriftguss foundry in Dresden. This is one of very few designs from that time attempting to infuse more Bauhaus than Jugendstil into the Blackletter forms. This is why we used a concatenation of the words blackletter and Bauhaus to name this face. The result of injecting Bauhaus elements into blackletter turned out to be a typeface that is very legible and usable in modern settings, while at the same time harking back to the historical forms of early printing. The original 1937 design was just one typeface of basic letters and numbers. After digitizing and expanding it, we developed a lighter version, then added a few alternates to both weights. The Rough style came as a mechanically-grunged afterthought, due to current user demand for such treatment. Having the flexibility of 2 weights and many alternates of a blackletter typeface is not a very common find in digital fonts. More specifically, having the flexibility of 2 weights and alternates of a 20th century blackletter typeface is almost unheard of in digital fonts. So the Blackhaus family can be quite useful and versatile in an imaginative designer's hands.

Paralucent is versatile all-purpose modern sans. Available in seven weights, from Thin to Heavy, and in two widths each with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. There are two additions to the core 28-weight family: a three-weight stencil set, and a four weight text family. The text weights have been adjusted for use at small point sizes, and feature more open character shapes, looser inter-letter spacing for improved readability, and lining numerals for use in listings and tables. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. A perennial Device bestseller.

❧ Useful links: Luther’s Manuscripts at the UNESCO Memory of the World at Google Arts and Culture Martin Luther font on Kickstarter (with Film about the creation) Each letter of the Martin Luther font is strictly based on original samples found in Martin Luther’s 500 year old handwritten manuscripts. Letters that occur more often for example vowels have two or more different versions stored in the font. (➶ Figure 4) These alternative forms are exchanged automatically by the font as you type, and create a vivid look that comes close to actual handwriting. The font avoids that two identical letters are placed next to each other like, for example the two “o” in the word “look”. ➸ What Historic Sources is the Font based on? Two historic documents were used to base the font on. The notes Luther took before giving his speech in Worms in 1521 and a 6 page letter he wrote immediately after to Emperor Charles V., summarising his speech (➶ Figure 2). Both documents have been added to the UNESCO “Memory of the World” and can be seen at the Google Arts and Culture website. ➸ The Creation of a Handwriting Font The creation of a handwriting font is very different from the creation of a regular font. Harald Geisler has specialised in recreating handwriting in preceding projects with Albert Einstein’s, Sigmund Freud’s and his own handwriting. His experience working with Archives and Museums has gone into this project. First Geisler analyses the movement in the writing to understand how each letter is drawn. This involves partially learning how to write like a person. In this process not the outlines of the sample are reproduced but the original movement path of the handwriting (➶ Figure 3). In a second step width and contrast is added to reproduce Martin Luther’s characteristic impetus and the writing tools used at the time. (Link: Youtube Playlist showcasing the creation of individual letters) How about signs that can’t be found in archives? Some Glyphs can not be found in 500 year old manuscripts, for example the @-sign. Towards the end of the creation one collects a profund amount of details about how a writer moves on paper and addresses certain tasks moving the pen. Keeping this knowledge in mind an improvisation can be based on similar letter forms. For example the @ sign is based on of the movement of a lowercase a and parenthesis. ➸ Features of the Martin Luther font ❶ Extensive Documentation of the creation of the font, including high quality reproduction of the used manuscripts. ❷ Additional texts from Historian Dr. Henning Jürgens and Palaeographer (and Luther handwriting expert) Prof. Ulrich Bubenheimer ❸ Alternating Letters - in handwriting every word looks a bit different. To avoid that two identical letterforms are placed next to each other (for example in the word look) the font actively changes between different versions of letters as you type. ❹ Ligatures - characteristic writing forms when two letters are combined (for example “ct”) (➶ Figure 5) ❺ Terminal Letterforms - renders a special letterform when letter is at the end of a word. (➶ Figure 8) ❻ ‘’’Initial and Medial Letterforms''' - some letterforms are different when placed in the beginning or middle of a word, for example the lowercase s. ❼ Luther Rose - is a seal Luther used to authorise his correspondence. Today it is a widely recognized symbol for Luther. When you enter the numbers of Luthers year of birth and death 14831546 using the Martin Luther PRO font, it will render a stylised version of the Luther Rose. (➶ Figure 7) ❽ Historic letter-forms - letter-forms that are specific to medieval writing around 1500. For example the long-s or h with a loop at the bottom. (➶ Figure 6) ⚑ Multi language support - see the technical information tab for a full list of supported languages. (➶ Figure 11) ➸ The different Styles explained ❋ Martin Luther PRO - this includes all features listed above and is geared towards writing texts that are more readable today. It features alternating letters to create a natural handwriting look as well as two stylistic sets accessible through the OpenType menu. Historic forms are available through the glyph picker. ❋ Martin Luther Historic - this font creates a historically correct reproduction (i.e. with long-s) of Luther’s medieval latin handwriting. It features alternating letters to create a natural handwriting look as well as two stylistic sets accessible through the OpenType menu. ❋ Martin Luther Expert-1 - Dedicated access to the first set of letters only. ❋ Martin Luther Expert-2 - Dedicated access to the second set of letters only. ❈❈❈ Family Pack - recieve all fonts at a discounted price. ❈❈❈ ➸ Kickstarter The creation and development of the Martin Luther font was financed by 500 supporters on ➸Kickstarter.

Birka is the first typeface I designed from scratch. It took a whole year of my weekend and evening hours and is the typeface that teached me everything I know about type design. It is easy too see that I had Garamond in mind when drawing it. Birka is beautiful" was the comment of the well known Swedish designer Bo Berndal when he first saw it. That comment gave me the courage to design more and more typefaces. In a Danish article about Scandinavian type design, Birka was taken as example of a typical Swedishness in typography. I am not sure what the writer had in mind, but it surely sounded well. Birka has its name from the ancient Viking town Birka, whose remains are found not far away from Stockholm. Birka was released in 1992."

Futura is THE prototype of a geometric or constructed linear sans serif and the font most commonly font of its kind used to date. Futura, very much influenced by the Bauhaus movement in Germany, was designed in 1927 by Paul Renner. Although being around for almost 90 years, Futura seems eternally young and fresh which also explains its continuous popularity with designers and typographers. Futura simply means efficiency and functionality documented by both its many usages as corporate type (e.g. Volkswagen, formerly IKEA, Vuitton, Shell, formerly HP, SMA and many more) as well as in various famous film projects (e.g. Kubrick, Anderson etc.). Futura’s iconic status was probably established when it walked on the moon with the Apollo 11 crew in 1969. It was used for the lettering of the plaque that was left up there.

Designed by the renowned Robert Hunter Middleton of Chicago’s Ludlow Typograph Company, this “serifless roman” was first introduced in 1929. Middleton has created a transitional face linking the traditional thick and thin serifs of the times with the new Futura and Kabel design imports. With its slightly flared main strokes, Stellar predates in many respects Hermann Zapf's Optima by thirty years. Highly effective where an elegant and warm feeling is desired. This typeface is faithful to the original letterforms of the Stellar design. Stellar Classic is also available in the OpenType Std format. Some new characters have been added as stylistic alternates in this new version. Stylistic alternates and other 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.

Smooth and shapely without a trace of fat. A seductively handsome devil without the attitude. This typeface wears a tie at the office, but keeps a pair of sneakers and a beach volleyball in the car. Ely Rounded is a family of four weights plus matching italics (with more on the way). Each weight includes extended language support for European, Cyrillic and Greek. OpenType features include fractions, tabular and proportional figures plus a few ligatures thrown in for good measure. This is a typeface that works well from text sizes to billboards, and is equally at home in print or on the web. Future updates of purchased fonts are, of course, free. Buy the full set and receive yet-to-be-released weights at no charge — even as the price of that growing full package increases.

Sitting inside our offline vault and print catalogs for several years but still available for purchase, PF Signskript is part of a valuable triad of typographic gems which are finally re-released, fully updated and upgraded. Designed by Vladimir Radibratović, a foremost calligrapher, type designer and illustrator, this trilogy of script typefaces was recently revamped by our design team with full support for Latin, Greek and Cyrillic. Initially released between 2000 and 2003 these typefaces manifest a human, hand-crafted feel. Designed to excel particularly within casual and natural contexts, their names reveal their exact identity. The nostalgic charm of PF Signskript, the unique vintage and rough appeal of PF Rafskript or the organic Mediterranean essence of PF Mediterra have all attracted attention to these popular typefaces for brands on the supermarket shelves, wine labels, packaging, quotes, stationery and vintage lettering.

Village was originally designed by Frederic Goudy in 1903 for Kuppenheimer & Company for advertising use, but it was decided it would be too expensive to cast. It was later adopted as the house face for Goudy's Village Press. The design was very much influenced by William Morris's 'Golden' type. Paul Hunt began working on a digital version of Frederic Goudy's Village type prior coming to P22 in 2006 for an internship (which evolved into a staff designer position at P22.) Around this time, The Tampa Book Arts Studio was looking for a digital version of Village to complement with a letterpress edition of a book called "The Rich Mouse" by JJ Lankes. Many years later the Rich Mouse project has been completed, so we decided to release the Village type on the same day as the release of the Rich Mouse Book!

Hot Dogs, Apple Pie, Baseball and great TYPOGRAPHY are deeply rooted in American culture. American Auto is a Type Family that embodies that culture visually. It joins a robust workhorse sans with a playful script that brings you back to 70+ years ago, while at the same time remaining as contemporary as any new 2019 design. This unique pair work together in harmony to create wonderful designs for a variety of uses. From book covers to posters, web sites to apps, American Auto is an excellent choice to create striking designs that stand out from the crowd! American Auto also features many Opentype Features such as: Alternate Characters, Initial & Final Forms, Contextual Alternates, Old Style Figures, Lining Figures, Numerators & Denominators, Fractions, and more! This typeface has really been designed to meet any challenge that a designer can throw at it!

Pantoufle is French for slipper. Not the flipflop variety (or thongs if you’re from Australia), but the one you wear indoors when it’s cold. I have some too; Spanish ones, made from recycled PET bottles. Here in Holland, we call them ‘Pantoffels’ and you don’t have to be a language expert to see the resemblance between the French and the Dutch word. That is because the French are probably more savvy when it comes to keeping your feet warm and the Dutch just borrowed the word, pronunciation and all! Pantoufle is a font I made with a big fat marker pen. My kids had used it to decorate some gifts for Sinterklaas (if you want to know what Sinterklaas is, look it up). Pantoufle comes with extensive language support and a full set of alternates for the lower case glyphs. Enjoy!

In the immortal words of Homer Simpson, "It's easy to complain... and so much FUN, too! Woo-HOO!" Now your characters can grumble, mumble and mutter in barely audible tones as they dredge up some bit of misery from their lives, unleash a rambling river of criticism and complaints about the state of their health, or the government, garbling as much graphic detail as time and your imagination will allow! Or perhaps your creations are issuing drunken slurs as they wake up outside their own fricka-frackin' houses cuddling wheelie bins, covered in glitter, wearing a shiny hat and budgie smugglers over their jeans while holding the reins to a miniature horse. So moan, groan, gossip incoherently or swear under your whiskey-soaked breath like a trooper... courtesy of those Rassum Frassum font lovers at Comicraft. >Hic!

The font collection is called "Duhline", it is a display font for logotype. These collections contain serif and sans serif font. Every font comes with 4 style typefaces (regular, smooth, rough and texture). This texture style includes some different stamp for uppercase and lowercase. Extras 9 hand-drawn illustrations about beer. The Duhline matches apply in some designs such as the logo, poster, label, badge, packaging, t-shirt, branding, quotes and more custom design. Duhline features : 4 style typefaces (regular, smooth, rough and texture) All-caps, numeral, symbol and punctuation and ligature in serif font All-caps, numeral, symbol and punctuation in sans serif font Multilingual PUA Encoded Duhline includes : 2 fonts (serif and sans serif) 9 hand-drawn illustrations in dingbat If you have any questions, please contact : edignwn11@gmail.com Check out Derpache which is a great pair for Duhline.

Introducing Arkais, a glyphic serif typeface inspired by the rhythmic construction of Gothic architecture. This unique typeface is characterized by slightly broken shoulder and bowl shapes, offering a fresh and classic feel. With contrasting brackets, consistent barb, and beak shapes, Arkais brings a touch of elegance to any project. Arkais features five weight variants—light, regular, medium, bold, and extra—as well as three width options: condensed, normal, and expanded. Each font family also includes italic styles, providing even greater versatility. Equipped with OpenType features, Arkais offers multiple character alternatives, ligatures, small caps, and more, ensuring a tailored look for your designs. Designed as an alternative to current trends, Arkais is perfect for creating strong headers or captivating display text. The typeface supports over 500 basic Latin glyphs, making it suitable for a wide range of projects.

Kevin Simpson was five years old when the stylized "E" of the Electrolux vacuum cleaner logo caught his eye. This is his earliest recollection of an interest that ultimately became an obsession. Type remains his major preoccupation, and he admits to attempting to work a good typeface design into any project where he can get away with it. Aitos was inspired by a metal sculpture Simpson saw while driving through the French countryside. "The statue was very strong. It was heavily weathered and had obviously been there for some time, yet it also seemed very delicate and light." Aitos, like the statue, is a rugged design. At first glance, it is chunky and bold, perhaps a little jarring. If you look again, however, you'll see it has refined qualities. Aitos commands attention - yet is still affable.

Somewhat extravagant and yet quite useful? Yes, absolutely. Meet Salted family: two awesome styles and a way cool picture font. Deliberately free-spirited, Salted – the Regular, yet regular is not quite an appropriate adjective for it – brings alternates and also discretionary ligatures that completely transform the font mood, adding unexpected touches of cursive script here and there and thus creating sort of a wild feel. Salted Sweet also brings alternates: 3 for letters, 2 for digits, and is way more even-tempered than it’s playmate. By the way, they play truly nice together. Enter the picture font and the team is complete for an exciting time. It’s said that the cure for anything is salt water: sweat, tears or the sea. We totally agree. Perhaps the cure for a boring design lies in a salted font. Give it a go!

A Nostalgic Signature Font for Christmas Sentimental Feeling is a script font that aims to capture the festive magic of Christmas with a retro design inspired by 1950s magazine editorials, classic movies and real hand-written signatures. It's a warm design that evokes Christmases of old, with a smooth brush-like flow and subtle human imperfections. It's equally at home singing carols, sharing Xmas Eve stories or serving cocktails at your New Years party. This happy holiday font comes with a complete set of uppercase and lowercase characters, plus numerals, punctuation, language support, symbols, alternatives, custom ligatures, underlines and a selection of festive clipart (including everything you might need to re-create the examples seen in my visuals). Add it to your toolbox and create the perfect Christmas designs, such as gifts and stationery products, ads, titles and much more!

Messenger is a redux of two mid-1970s Markus Low designs: Markus Roman, an upright calligraphic face, and Ingrid, a popular typositor-era script. Through the original film faces were a couple of years apart and carried different names, they essentially had the same kind of Roman/Italic relationship two members of the same typeface family would have. The forms of both faces were reworked and updated to fit in the Ingrid mold, which is the truer-to-calligraphy one. The Messenger package is comprised of two interchangeable fonts that support Western, Eastern and Central European languages, as well as Baltic, Celtic/Welsh and Esperanto. Messenger Pro is a single OpenType font that contains the characters of both Messenger and Messenger Alt, linked by programmed features for stylistic alternates, automatic f-ligatures and class-based kerning.

Originally designed by Morris Fuller Benton in 1925, FontHaus's 1995 revival is based on a design named "Novelty Broadway". Characters were referenced from "Commercial Art of Show Card Lettering" by James Eisenberg, published by D. Van Nostrand Company in 1945. This Broadway is classic Broadway but with some charming differences such as a slanted lower case "f" a remarkable lower case "g" and a high-waisted upper case case "R", as only a few examples. It was named "Novelty" because the alphabet incorporated a concave design feature in the tops and bottoms of each letter. These differences allow this version to possess much more personality than that of all other Broadway designs on the market. It looks almost hand brushed, has soft edges and is no where near as sterile looking as all the other digital versions. It feels very 1925!

Gathes is vintage pop script with layered style, Since a few years I try to exploration of script with layered system. and this my third script layered from my collection font. Gathes is basic from 5 styles layered type. Base layer is regular, add an shine, extrude, extrude detail, and shadow to create a dimensional look. Several styles can be mix and matched together or can be used alone and/or in layered. The Script font have a opentype feature such a stylistic set, ligature, swash ornament. For additional we add a serif version in this family, so that it can be combined with script fonts. Gathes works great in any graphics app that allow to create a layered type and good to create the logo, badge, poster, heading, magazine, advertising design purpose and more. Features: - Opentype features - Ligatures - Alternates - PUA Encoded - Multilanguange

In nautical folklore, the Flying Dutchman is a ship that can never go home and is doomed to sail the seas forever as a ghost ship. The story of the Dutchman appeared in print in the 1820s. With different versions written over the years, some date the legend to the 1640s or the early 1700s. The Flying Dutchman font is a revival of an 1876 font from MacKellar, Smiths & Jordan Co. The Truetype and OpenType formats include a larger extended character set with Central and Eastern European accented letters. Extra characters in this font are left and right pointing hands in place of the less than and greater than keys and a pirate flag is on the bracket keys. New to this style is the distressed version where the letters look like they've been hacked by a cutlass.

Kaneda Gothic is a whole new basic gothic. Philosophically, Kaneda Gothic is the one of the niche answers in the interspace between these antinomies. Image of near-future and giant metropolis in 80s, 90s vs our real life in the 2010s,20s. What we acquired by Industrial, scientific developments vs our emotional demands, imagination in our brain. Design transition in short period of time vs the consistency of real function which laid along the human history. Technically, Kaneda Gothic has a geometric letterform which called “gaspipe” or “Gothic” in woodtype era. But Kaneda has very sharp curves and lines for contemporary demands, that is to say, impact and clearness. Geometric and clear letterform is perfect for eye-catching part such like company logo, movie title and picture’s captions. Consists of seven weights and their matching italics. Supporting almost all latin languages.

As a successor of Didots famous font, which marked the beginning of modern typography, the Monceau has inherited the spirit, elegance and sophistication of french style, although in a revamped design, typical for the first years of the 21st century. Liberated from its serifs and with soft and round small letters the Monceau approaches ornamental typography and thus perfectly lends itself to being enlarged: it’s a font that loves to be closely looked at. Its name, lent from the famous parc Monceau in Paris, evokes and reinvents in a modern graphical way all of the Parisian chic at the end of 18th and the beginning of the19th century (the time Didot was born), the French Revolution and Empire, the architecture of this business quarter and notably the arabesques of the monumental gates still present in our times.

Letterhythm is a modern, contemporary handcrafted blackletter typeface made with experienced by the hand of Dhiya Roslan. The style was influenced by Old School Blackletter Calligraphy Script culture, Fraktur style, and with an extra touch of urban street attitude of Calligraffiti (Calligraphy+Graffiti). The letterform took years of practices to finally made it into digital format. Letterhythm is a very flexible font for almost anything from merchandise, logo, branding, artwork, title, sub-title, body text, tattoo arts, apparels to infinity and beyond. Letterhyhm is a timeless typeface that suits and fit perfectly in any timeframe or style you want. It comes with Multilingual Support for most Latin alphabet's languages derived with 3 unique font styles that made a total of 220 glyphs each style to complete the typeface including ligatures, alternates and all necessary symbols & punctuations.

The current design of "iogen" is a result of years of alterations since it's original concept was born in 2010 and it needed a hallmark to make it authentic. The idea of "a typeface speaking pleasantly" is the basis on which "iogen" is constructed. Hereby, the letter forms are based on sharp directional changes and curved vertical strokes, allowing it to speak clearly and pleasantly. The sharp corners, open apertures and open counters of iogen also ensure legibility in smaller sizes. The Iogen family has 6 members with 3 basic weights with sans and serif styles. It supports the Latin extended character set and opentype features like stylistic alternates, ligatures, fractions, denominators, numerators, superscript, subscript and ordinals. Iogen is a good fit for all of design needs with it’s wide range of character sets and features.