Sero Aromad brush script font. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with signature or script typeface. Make a stunning work with Sero Aromad brush script font. Cheers, Maulana Creative

Megie Ceyal bold script font. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with signature or script typeface. Make a stunning work with Megie Ceyal bold script font. Cheers, Maulana Creative

Robneys Hut modern display font. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with signature or script typeface. Make a stunning work with Robneys Hut modern display font. Cheers, Maulana Creative

Clowed Rollnow brush handmade font. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with signature or script typeface. Make a stunning work with Clowed Rollnow brush handmade font. Cheers, Maulana Creative

Ratth Cilay brush handmade font. This font is good for logo design, Social media, Movie Titles, Books Titles, a short text even a long text letter and good for your secondary text font with signature or script typeface. Make a stunning work with Ratth Cilay handmade brush font. Cheers, Maulana Creative

Here's a typeface from the Art Nouveau era that is equally at home in the world of contemporary science fiction, which is quite an achievement. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The Pandorum font was especially designed by Alejandro Lecuna and Henning Brehm for film sets in the science fiction movie “Pandorum” starring Ben Foster, Antje Traue and Denis Quaid. It was used for all signage, logos, posters and monitors in the spaceship “Elysium”.

Spacelord is inspired by vintage toys from the 1950s and 1960s. It refers to the box art of robots, spaceships, x-ray-guns and other cosmic trash treasures of this golden science fiction age. Aboard the lord: four, three, two, one, zero!

Bonhomme Richard evokes the cursive penmanship of Chevalier John Paul Jones (1747–1792), celebrated Continental Navy commander during the American Revolution, in letters from the late 18th century. The font’s name comes from Jones’s famous frigate, lost during his victorious engagement with the British in the Battle of Flamborough Head in 1779. During this battle Jones is said to have exclaimed, when urged to surrender, “I have not yet begun to fight!” (In fact, his likely words were, “I may sink, but I’ll be damned if I strike!” – i.e., surrender.) A legible script, Bonhomme Richard has an elegance about it while also conjuring the colonial era of its source material. Use to simulate historical handwriting in film props, games, formal invitations, product labels, and the like.

Eckhardt Signwork JNL was inspired by visual images collected by two great nostalgia sites: www.forgotten-ny.com and www.norelevance.com. The vintage signage photographed and saved for posterity on both sites reflect an age when hand-crafted work was the rule, rather than the exception [as is today]. Although somewhat limited in scope, this font can best be used for retro or nostalgic embellishments in ads or design work. There's also a generous amount of blank panels to insert your own copy for special projects. As with previous typefaces in this series, the font is named in honor of the late Al Eckhardt, owner of Allied Signs in Miami, Florida - a talented sign man and Jeff Levine's good friend for 18 years.

Swiss Interlock represents the extraordinary meeting of two disparate cultural phenomena of the mid-twentieth century. Its compact frame combines the International Style of the late 50s, which championed the clarity of sans serif, with the interlocking lettering characteristic of 60s counterculture aesthetics. The remarkable result is a tightly woven face with unexpected letter pairs that warm an otherwise cold industrial appearance. Swiss Interlock’s unusual origins make it comfortable on everything from album cover artwork and snack food packaging, to home improvement applications and automotive-themed advertsing. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

As a unique example of late nineteenth and early twentieth century Victorian type, Zinc Italian emits a strikingly beautiful and twinkling luminescence. Oversized initial caps, each containing intricate swirls and curlycues, vibrate stunningly alongside a variety of amusing lowercase letters. Also known as Zinco, this typeface is generously equipped with a charming set of alternate characters including capital figures and some easier-to-decipher lowercase letters. Zinc Italian with Alternates is also available in the OpenType Std format. Some new features including discretionary ligatures and expanded standard ligatures 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.

Back in the nineties I had a deck of Tarot cards. It was part interest and part curiosity, but I also liked the look of them. My readings were just for fun; I thought it was all a joke, but when people started to return for more readings (because what I had predicted actually happened), I quit. That was way out of my comfort zone! Fortune Teller is a nice brush font. I made it with one of my late father in law’s Chinese brushes and ink. It comes with all diacritics and a set of alternate glyphs. If you buy this font, you will meet with a tall and handsome stranger and you will win the lottery. Guaranteed! Haha!

Sackers Gothic is part of the larger Sackers series, a collection of fonts drawn from templates for producing engraved stationery and social cards by Gary Sackers, a Charlotte, North Carolina intaglio printer. Many typefaces were made from similar sources, including Monotype’s Engravers series, as well as Jim Spiece’s ITC Blair, and Mark van Bronkhorst’s Sweet Sans. Sackers’ typefaces, which were initially made into photo-set type, were digitized by Compugraphic and released in the late 1980s. Sackers Gothic has since become a popular choice for conveying sincere and plainspoken language on dust jackets, posters, and of course, in stationery. The face pairs well with display faces of a disparate nature, and serves as a ready foil for anything requiring an air of typographic sophistication.

Bombelli is a font that looks like it has been handwritten by a meticulous architect in one of those hand-drawn blueprints of the old days. I chose the name to honor one of my ex-bosses -- a graphic designer-architect who taught me a lot of things when I was young and needed the money. One of the things he taught me – and probably the most important one – was to always be on time in the morning. He never said a word about me being late, but it worked. He taught me about being meticulous in detail and many other things I only appreciated much later. This clear and straightforward font deserves bearing his name. Your grateful type designer Gert Wiescher

Stu is based on the penmanship of the late Raoul "Stu" Stuart. Raoul's penmanship was always admired by those who saw it; it was a first glimpse into the artistic and creative side of an otherwise easy-going, funny guy. The print variants exude a soft yet masculine feel, while the scripts evoke a sense of sentimentality and romance. Stu features dingbats which say something about Raoul: affectionate and romantic (heart), a big coffee drinker (coffee cup), a great cook (spoon and fork), a music lover (musical note), and a prankster (winking smiley). (The winking smiley is available in all the font styles, while each of the other four dingbats is unique to one font style.) Stu is a tribute to the coolest dad in the world.

Niccolo Niccoli (1364-1437) was a wealthy bibliophile and an acclaimed scribe, in Florence (Italy). He was one of the most important Italian calligrapher in this early time of rediscovering Roman script. Of rare accomplishment was his adaptation of the so called Italian humanistic minuscule script. We were inspired from his late work to create this present Font. We have added a lot of accented and other characters (U/V, I/J...) who was not existing in the original and replacing "long s" by a small "s" for a modern use. The OTF encoding was used for intelligent alternates, permitting to use different forms of the same lower case or capital in a single word, reproducing easily the charming variety of a real manual scripture.

Jugo Script is a Koziupa/Paul near-parody of the soft and speedy late-1980s, early-1990s display scripts. Though it essentially is one of the usual exhibits of Koziupa's calligraphic skill, its individual shapes and overall construct show a mischievous wink at Oz Cooper and the hundreds of lens-blurred film types he inspired in the 1970s and 80s. Koziupa's unique sense of letterform and proportion is on full display in the uppercase and the figures, while the lowercase is an eccentric exercise in single stroke lettering, complete with quick and subtle wrist bends, minimal pausing, and hurried exits. Jugo Script's softness and internal call-and-answer structure make it a natural for comfort food packaging, especially the sweet stuff.

The Swedish designer/typographer Anders Bodebeck designed the Bodebeck type family in 2002. The family, which includes five different styles, is primarily intended for use as a titling, or display face, and belongs to the neo-transitional style of typefaces. Transitional style type first appeared in England during the late 1750s, when John Baskerville released his first sets of type. Bodeck bears similarities to another, later transitional style typeface as well - Eric Gill's Perpetua (originally released by the British Monotype Corporation in 1928). Like these two previous English stonecutters turned masters of typography, Anders Bodebeck has given us a modern re-interpretation of classic letterforms. Bodebeck, which is fitted with old style figures, is available in the following styles: Regular, Italic, Bold, Bold Italic, and Extra Bold."

Proto-Sinaitic (also referred to as Proto-Canaanite when found in Canaan, or Early Alphabetic) is found in a small corpus of c. 40 inscriptions and fragments, the vast majority from Serabit el-Khadim in the Sinai Peninsula, dating to the Middle Bronze Age. They are considered the earliest trace of alphabetic writing and the common ancestor of both the Ancient South Arabian script and the Phoenician alphabet, which led to many modern alphabets including the Greek alphabet. According to common theory, Canaanites or Hyksos who spoke a Canaanite language repurposed Egyptian hieroglyphs to construct a different script. The earliest Proto-Sinaitic inscriptions are mostly dated to between the mid-19th (early date) and the mid-16th (late date) century BC.

Back in late 2019, Wahyu Wibowo designed a logotype for Wahyu and Sani Co., he decided to shorten the name to be WSCo. for the logo. Then by the end year of 2021, he got an idea to develop the typeface he did for the logo and start developing a font family which can be used for company branding. Now the typeface has come to life with the name "Warkat". The font family comes in two styles, upright and italic. It has 14 styles in total and additional two variable fonts. Each font has more than 580 glyphs including the alternates which covers Western and Eastern Europe Latin based languages and equipped with functional OpenType features like standard and discretionary ligatures, various format for numbers, ordinal, etc.

The hand cut wood type which was the inspiration for Wood Nouveau JNL conjures up images of the artistic period between the Victorian Era and 1920s Moderne, as well as the hippie counterculture active in the later part of the 20th Century. During the late 1960s and early 1970s, rock posters, fliers, store signs and other printed ephemera of "the love generation" borrowed heavily from the Art Noveau style in both art and typography. An Alphonse Mucha-inspired flower girl could adorn a concert poster that also combined both vintage wood type and hand-lettered elements. Although this particular type design might well have preceded the actual start of the Nouveau period, the softer, rounder lines of each character lent themselves well to this emerging style.

Apothicaire is a new font designed by Ale Paul and the Sudtipos team that is inspired in, but not limited to, an antique style casted by a German type foundry during the late XIX century. With the addition of a contemporary design approach, Apothicaire comes in three widths —from condensed to expanded— and five weights —from light to extra bold—, offering a wide range of combinations to explore. As a bonus the font family is also available in a single variable format. An elegant small caps set, a variety of ball terminals and delicate swashes, as well as the possibility to choose from many alternates are also included in the OpenType features. Apothicaire supports a wide range of Latin alphabet-based languages.

Lately I have been thinking about rabbits. Not that I have a particular love for rabbits - they’re cute, but also kind of stupid. But as Christmas dinner is approaching, I see more rabbit carcasses lining the shelves of supermarkets. These poor animals never saw the light of day, never felt the grass between their paws and never had a ‘true life’. In honour of the hundreds of thousands of rabbits being slaughtered for Christmas this year, I have named this font: Rabbit Escape. Rabbit Escape is a slightly back-slanted typeface - handmade with a permanent marker I bought in Japan. It is quite unusual, maybe a bit weird, but it will serve you well. Comes with a generous stuffing of diacritics.

Alvina made for text display purposes inspired by handwritten font. We crafted this font for your design project. Support Multilanguage and you can easily create a simple, clean, cool logo, branding, and promotion with this font. Alvina brings a modern and strong impression to your design make this font suitable as the main text / header text on a website or layout design. The font is suitable for blog titles, headers, promotional text, call to actions and more.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina's story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn't even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born.

Hellmut G. Bomm first released his Linotype Nautilus typeface in 1999. Ten years later, he updated and expanded the design. Now users have two additional families at their disposal: Nautilus Text and Nautilus Monoline. Nautilus Text bears more similarities to the original Linotype Nautilus. The letters shows a high degree of contrast in their stroke modulation. Bomm's intention was to create a clear, highly legible face. While the even strokes of most sans serif types eventually tire the eyes in long texts, the marked stroke contrast of Nautilus Text lends the face its legibility. The characters were drawn with a broad tipped pen. Like serif typefaces, the forms of Nautilus Text display a variety of elements. Its characters are narrow, with relatively large spaces between them. This helps create an overall open appearance, and allows a large quantity of text to fit into a small space. Nautilus Monoline's letters share the same overall proportions as Nautilus Text's. But as their name implies, they are monolinear. Their strokes do not have the calligraphic modulation that Nautilus Text features. This allows them to set another sort of headline, making Nautilus Monoline a refreshing display type choice to pair with body text set in Nautilus Text.

Hasan Enas is an Arabic text typeface. This font is designed for reading texts and inspired in the simple lines of Naskh calligraphy. It supports Arabic, Persian and Urdu. The characteristic of its design is easily recognizable and very stable to use for extended texts in magazines, newspapers, books, and other publications.

My motivation for designing the Lalibela family (which is based on Bodoni) was to pay homage to Ethiopic script. The script has been around for about 3 000 years, but I took artistic licence to deviate from the original model and add personal touches. I chose Bodoni as a historical model because of its display value and not its text size use because the extreme contrast made it difficult to read at small sizes. A Modern typeface characterized by consistently horizontal stress, flat and un-bracketed serifs, and a high contrast between thin and thick strokes, were the final step in typography two-hundred-year journey away from calligraphy. The austerity, simplicity and greater contrast style was perfected.Contrary to all the refinements in Bodoni, I have revisited calligraphy with the font Lalibela that mimics Ethiopic Script. It was drawn with a much larger x height and less geometric than Bodoni for its primary use as a display font. For example, a lot of italic serifs were added to the roman face as well as 16 additional ligatures to obtain more a feel of calligraphy. I made the serifs thicker and bracket one side with straight steps obtaining a reduced contrast to withstand breaking up at smaller sizes.An additional variant, "Lalibela Alternate" was designed to provide an interesting mixing possibilities with the Bold face for more expressive headlines.

Dinner is a family of novelty fonts in which the characters are formed from spoons, forks, and knives. Dinner-Regular was designed in 1990, one of the earliest fonts in the IngrimayneType collection. It contains a mixture of knives, forks, and spoons and the lower-case letters are smaller versions of the upper-case letters. In 2021 the family was expanded with Dinner-Knives in which all characters are formed by arranging knife shapes, Dinner-Spoons in which the characters are formed from spoon shapes, and Dinner-Forks in which the characters are formed from fork shapes. All three are caps-only but the characters on the lower-case keys are alternate versions of upper-case letters . Dinner is a decorative display family that needs to be used at a large size. The logical place to use it is for food-related items.

Presenting my font called Hubber. This font has been inspirited by product retro posters from 60s-70s. I tried to make letters as much streamlined and gentle as possible. I hope you'll enjoy how sweet it came up. Hubber consists of​ such features as swashes, alternate glyphs, ligature, ​ and additional shadow font. Hubber perfectly fits for retro designed logos, posters, prints. Hubber Features: Up to 19 alternates for each letter with swashes Contextual alternates feature will automatically match alternate letters depending on their position or pairing 21 ligatures Shadow effect font to save your time. Just place the ​layer with Shadow font behind Regular to make the shadow effect Carefully tuned kerning (preview above doesn't show it for some reason) If you have some issues, questions, please let me know: lhfonts@gmail.com Hope you'll enjoy using Hubber!

Ark is a combination monogram set based on the ATF Virkotype design. By combining variously shaped characters, you can produce initials within an oval frame. Just select a left-hand letter, a center letter, and a right-hand letter. Then place all three on an oval frame of your choice. Great for stationery and company logos. The Ark Monogram Set comes with easy-to-read instructions and a useful character map. Additional alternate characters have been provided for better identification and letter fitting within each font. Ark Monogram is now available in the OpenType Std format. Some new stylistic alternates have been added to this OpenType version. Advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

We wanted to make an ultra-thin, tall font with a rough, hand-drawn look and ended up with more than we bargained for. To get the font we wanted we started by developing a source font for the basic letter shapes and we ended up with a whole bunch of variations of the basic style. Thus was born the new Ducatus family of fonts, starting with Ducatus Light which developed into the Medium and Heavy versions, and the Medium weight was ultimately used as the basis for the Ducatus Rough font, which was the goal of the project in the first place. Ducatus Rough was created by modifying Ducatus Medium in Photoshop using Gallery Effects and several other filter packages, and then redoing the outlines from scratch in Fontographer. A lot of work, but the result is just what we wanted.

Valenteena is in the spirit of the 19th century, but there are no other typefaces quite like it. It is geometric, using distorted hearts to form the letters. The lower-case letters are smaller versions of the upper-case letters. The overlay variant is derived by breaking ValentinaContour into its parts: the inner letter, the white inner border, and the black outer border. To use them one must have a program that allows layers of letters. Type in and format the inside variant to get the message you want. Also select the color you want this layer to have. Copy this layer twice, formatting one to the medium and and the other to outside. Color each of them in the colors you want and them combine the three layers, placing them so the letters exactly align. You will get letters with three colors.

Your purchases include the Hello Darling Script, conjunctive handwritten script, and printed, handwritten, and printed script fonts. Hello Darling is made side by side to work together. All lowercase letters are placed to receive a connecting tail from Hello Darling. You can mix and match the same words to your heart's content! Hello Darling is also made with the crafter in mind: there are no closed counters on either type, meaning they can easily be used for stencils and electronic cutters such as the Cricut line and the Silhouette. The Hello Darling package includes: - More than 300 glyphs in the Hello Darling font, designed to work together! - No closed counters - useful for stencils and vinyls! - More than 200 accented characters in each font. - Double letter binder staggered for a hand drawn look! - PUA-encoded for easy character map access! Enjoy and thank you.

This font family was inspired by a visit to the Duxford Air Museum just outside of Cambridge, UK, where the whole history of aviation is represented in a series of exhibits ranging from early prop planes to supersonic jetliners. A common feature is the clipped, blockletter painted on the wing or fuselage of each aircraft, my interpretation of which I present here. To add an original touch each letter incorporates its designation in the NATO phonetic alphabet. In response to popular demand this font is now available in 'Scotch' and 'Irish' versions. If you take your whiskey with an 'e' choose Oscar Bravo Whiskey. If you prefer it neat, choose Oscar Bravo. And no, I am not going to bring out an Oscar Bravo Bourbon version! For variations on this font family see also Alma Mater.