dT Ampla shares many characteristics of the versatile sans typefaces of today: nice range of five weights with matching italics, 40+ supported languages, contemporary upper-to-lowercase proportions and impeccable performance in big and text sizes. However, all these features are designed with distinct shapes and details. Notice the angled terminals – the cut at the end of the strokes – or how the vertical strokes in the italics seem to 'bend' a little, for instance. The sum of these and many more design decisions result in a typeface capable of delivering a strong presence to sites, interfaces, apps, magazines and corporate graphic language.

Crimmy is a modern and clean brush with natural a handwritten font. This texture is very detailed. You can see the swash brushes as alternate characters in this font. Crimmy is suitable for logos, shirts, fashion, blogs, websites, product branding, posters, flyers, any print template or for text overlay to any background image. How to use alternate: if you use Adobe / Corel Draw you just block one of the letters / numbers (for swash) and an arrow will appear under the letter, and you can replace it with alternative characters. Alternative character ready for " f , g , j , y and numeral 0 - 9 "

Hello Everyone, introduce our new product Font Rassie is a Rough Brush Font.This is a Textured Natural Style and classy style with a clear style and dramatic movement. This font Rassie is great for your next creative project such as logos, printed quotes, invitations, cards, product packaging, headers, Logotype, Letterhead, Poster, Design this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, product packaging, special events or anything that need handwritting taste. That is has charming, authentic and relaxed characteristic more natural look to your text. You can activate 13 Ligatures OpenType panel.

Maculature features grunge, uneven look inspired by letters from old posters and advertisements. Capital glyphs are, although damaged, satisfactorily legible, whereas instead of lowercase letters, capital glyphs are placed, also featuring nearly abstract, hard to read dirty looks damaged spots and stains. The overall visual experience is rough. Capitals are legible and of small size, whereas the second group can be used only in bigger size, whereby rendering an interesting text texture in the course of alternate use. The font contains all the Latin accented characters used in European languages​​, Cyrillic and various ancillary graphemes, ornaments and rough lines.

Deposit Pro is a wide slab-serif family with low x-height. In both headlines and paragraph text it creates a serious yet friendly texture between a typewriter and a contemporary slab-serif, making it particularly suitable for corporate communication design. Deposit Pro consists of 16 styles (8 weights and their corresponding italics) and features broad language support including all European Latin and Cyrillic languages. It also sports plenty of OpenType features including 6 sets of digits, fractions, small caps, ordinals, all-cap punctuation, and contextual forms for ‘f’, eliminating the need for too many ligatures.

Noyh A is altered from the form of the original Noyh to give an addition to the Handmade type. It’s delightful being used alone or in combination with Noyh. You may find it on art publications, in fancy cafes, or even on marriage invitation card. Features include Bistro which has rough edge and the smoother edge Cafe with options of texture to add variations to the type. It also comes with Manuscript and Handdrawn designs that match to them and support caption texts. Element and Handdrawn patterns are available to complement the 17 letters of Noyh A.

MVB Gryphius is a digitization of uncommon type from an era normally associated with the work of Nicolas Jenson. Produced by Otto Trace, the fonts come from types used by Sebastian Gryphius in Lyon in the early 16th century. The italic appears in a book from 1524 and the roman and small caps appear with the same italic in another book printed by Gryphius in 1541. Retaining the rough contours and uneven texture of its source, MVB Gryphius is best used at text sizes from 12- to 15-point, but its old world character can work in display settings too.

The Ingeborg family was designed with the intent of producing a readable modern face. Its roots might well be historic, but its approach is very contemporary. Ingeborg’s Text Weights are functional and discreet. This was achieved without losing the classic characteristics of a Didone typeface, which are the vertical stress and the high contrast. The Display Weights on the other hand are designed to fulfil their job and catch the reader’s eye by individual form language and a whole lot of ink on the paper. Nevertheless both are of one origin and work together in harmony.

A roughened and worn version of Daily Tabloid JNL was originally created as a non-exclusive custom font for a client. The design emulates the look of old letterpress wood type and has now been released commercially as Regional News JNL; available in both regular and oblique versions. A special acknowledgement goes to Michael Hagemann of Font Mesa Fonts who partnered with Jeff Levine Fonts for the original project. His creativity and skill resulted in the textured look needed for the typeface. For some beautiful antique typefaces or fine text face collections, please visit Font Mesa Fonts.

Kaarna is a rough hand drawn sans serif. The underlying shapes and structure are designed in the style of modern sans serifs which are made livelier by the hand drawn look. The condensed proportions make it especially suitable for use in large headlines and to achieve maximum impact. The hand drawn texture becomes clearly visible in big sizes and quiets down when used small. This allows you to use Kaarna for both headlines and short to medium length texts, ensuring visually unified typography. Because of its design and large character set, Kaarna is well suited for branding, advertising, packaging and editorial use.

Introducing Stay Dreaming SVG Font! An expressive, streetwise script font with a fast flow and dry textures to the max. It's a bold choice of typography ideal for injecting a confident, custom-made style to your design project. Stay Dreaming is packed full of extra features; The script font includes a full alternate set of characters, as well as a set of 26 Swashes, these fast strokes are ideal for underlining the script font and giving your text that extra flair & customized feel. Language Support is provided for; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay.

Chalk Cowboys is a vintage chalk font, handwritten by me. It has a real chalkboard feel and is a: textured font handwriting font has bonus shape elements and full Latin support As a bonus you will get real chalkboard shapes (as seen in preview pic three). Get creative and use this retro font for: a menu food branding as a display font for invites chalk lettering (of course =)) shirt designs magazine layout Instagram posts or any Social Media posts, really This font also works great as a running text, too. =) Don't forget to check out my two other fonts: Casual Crew Signsurfers Script

Hello Everyone, introduce our new product Font Knockoff is a Fun Display Font.This is a Textured Natural Style and classy style with a clear style and dramatic movement. This font Knockoff is great for your next creative project such as logos, printed quotes, invitations, cards, product packaging, headers, Logotype, Letterhead, Poster, Design this font is great for your creative projects such as watermark on photography, and perfect for logos & branding. That is has charming, authentic and relaxed characteristic more natural look to your text You can activate 6 Alternates glyphs and 14 Ligatures glyphs OpenType panel.

Timothy Donaldson creates letterforms anywhere using anything: he is just as happy making letters with pens and brushes, many of which he makes himself. Applying his personal commitment to the beauty of hand-drawn letterforms to modern type design methods has ensured that his fonts frequently reveal the presence of a joyful creativity behind the design. Airstreams alphabet is composed of consciously irregular handwriting characters and the overall tone is set by the emphasized vertical strokes. The erratic Airstream with its cheerful, unconventional character is intended for shorter texts and headlines and should be used in point sizes 10 and larger.

Umberland Slab is an attractive family available in 3 different weights with italics. There’s a particular emphasis on simple geometric shapes and the way they interact with tall vertical strokes. Smooth curves and sharp angles blend together in a pleasing symmetry. Stroke widths are given variable degrees of contrast but serifs are consistent and heavy handed. Spacing is on the tight side with some lowercase pairs quite snug against each other. Umberland Slab would work well in small blocks of text, corporate logos, menus, or signage. This family is equipped with European accents/diacritics for international support, fractions, alternates, and ligatures.

Linotype Really, designed by Gary Munch, is a typeface family of six weights with italics and small capitals that offers a broad palette of expressions to draw from, sensibly light to brightly stentorian. The moderate-to-strong contrast of the vertical to horizontal strokes recalls the Transitional and Modern styles of Baskerville and Bodoni, and the subtly obliqued axis of the stoke weight recalls the old-style faces of Caslon. A strong belt of sturdy serifs completes the Realist sensibility of a clear, readable, no-nonsense text face whose clean details offer the designer a high-impact display face.

Fall in love with Adore you, a new script font designed with dry-brush. These original letterforms were created by the expert hand of calligrapher Giuseppe Salerno. A fresh expressive and playful calligraphic approach, then digitized keeping textured strokes and the feeling of dry ink on paper. 2 versatile fonts, upright and slanted, and a set of strokes and lovely decorations which works on very diverse circumstances… beauty care, food, fashion, health, publishing, stationery and so many other uses. It includes opentype features - stylistic alternates and an extended set of Ligatures to customize your text. More About Opentype Features: https://bit.ly/opentype-rsz

By overwhelming popular demand, this is the wide display companion to Canada Type's Clarendon Text family. It comes in ten styles: regular, medium, bold, with small caps and oldstyle Figures counterparts, as well as stencil and sketch versions of the regular and the bold. All the fonts come equipped with superscripts/numerators, denominators, and scientific inferiors. The OpenType fonts also contain automatic fractions and class-based kerning. The Clarendon Wide fonts are available in all popular formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.

Bookkeeper JNL is based on the lighter weight version of R. Hunter Middleton's 'Karnak', produced in 1936 for Ludlow. "Karnak" itself was based on the geometric slab-serif "Memphis", designed in 1929 by Dr. Rudolf Wolf and released originally by the Stempel Type Foundry of Germany. According to Wikipedia, "Karnak" "was named after the Karnak Temple Complex in Egypt, in reference to the fact that early slab serifs were often called "Egyptians" as an exoticism by nineteenth-century type founders." Available in both regular and oblique versions, Bookkeeper JNL serves well as both a headline and text type face.

Handelson is a collection of 6 handmade typefaces with authentic and organic feel. It contains three scripts, one non-connected script and two all caps geometric sans serifs (Block letters). Textures and rough edges are simulating handwritten and printed looks. By combining these fonts you can make diverse typographic solutions and elements with unified style. All the non-connected fonts; Handelson Two, Handelson Four, Handelson Five and Handelson Six has two sets of characters. By enabling Contextual Alternates from the OpenType panel you can make these letters vary randomly to make your text look more like real handwriting.

Introducing a vintage look label font named Western Whiskey. All available characters you can see at the screenshot. This font have 6 styles - Regular, Full, Shadow, Texture, Shadow FX and Texture FX. This font will good viewed on any retro design like poster, t-shirt, label, logo etc.

hello, Introducing the new textured brush fonts Youth Today Youth Today is textured brush (Transparency) fonts. easy to read, easy to access opentype, good kerning, strong. what's included inside the fonts ? Uppercase Lowercase Numerals Symbols Stylistic Set 1 Stylistic Set 2 Standart Ligature European Multilingual Thank You, Regards!

The Monokill is modern vintage display typefaces, This font has 2 styles, namely clean - textured which will make the display look good. Choose between varying texture strength for your desired effect. Already PUA Encoded and I think this font is perfect for Logos, Advertising, Apparel Design, Labels, Signage, Etc.

Introducing a vintage look label font named Brewing Crafters. All available characters you can see at the screenshot. This font have 6 styles - Regular, Full, Shadow, Texture, Shadow FX and Texture FX. This font will good viewed on any retro design like poster, t-shirt, label, logo etc.

Canvas was inspired by the textural qualities of painting and drawing letters on, of course, rough canvas. Canvas will give your artwork a rough, painterly feel, yet Canvas is readable and clear. Canvas will add a bit of the texture of fabric to all of your paper arts.

Landepz Typefamily includes three normal styles, grunge texture and glitch, Landepz is a family of bold hand-printed types, celebrating the style of the original printing press and all its beautiful imperfections. Its solid, robust shape lends itself to a robust design, while its texture provides an authentic sound.

Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which give the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims appreciation for quirkiness and human imperfection through the rounded serifs and irregular vertical stems. The typeface family is also a multi script project, containing Latin and Arabic scripts. The Latin consists of Regular, Bold and Italic styles, including Small Caps and many other typographic features. Whereas Arabic Naskh includes Regular and Bold weights. The whole family has been designed to work harmoniously together to help to produce catalogues and small publications of cultural content. We believe that Baldufa is a tiny but nice contribution to build bridges between cultures and this make us very happy. The letterforms in the Latin are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. To certain extent, the design of the Arabic gathers the same interest for experimentation than its Latin companion. Baldufa Arabic respects the basic features of Arabic script such as thick stokes in the baseline, multiple vertical axis, genuine stem modulation and good linking between words. However, it steps away from traditional Calligraphic Style. It has rounded top terminals and the traditional contrast between curves and straight stokes has been softened. Letter shapes sometimes slightly differs from tradition in order to obtain more expressivity. Overall, Arabic has been designed to acquire the same elegant and quirky aspect of the Latin.

This calligraphy script used a Japanese calligraphy brush to create its unique texture.

This textured outline is clear and easy to read while still having personality.

A stamped, eroded font with the texture of a real rubber stamped image.

Introducing a vintage look label font named Urban Ink. All available characters you can see at the screenshot. This font have 6 styles - Regular, Full, Shadow, Texture, Shadow FX and Texture FX. This tattoo style font will good viewed on any retro design like poster, t-shirt, label, logo etc.

ZoodMantra is a Pixel-Blackletter typeface developed for nostalgia purposes in the time of video games. It could represent the fantasy world, magic realms, knight's tales and warrior legend. Be suitable for commercial materials, textile design, comic books and classic video games.

Many years ago I created two upside-down typefaces, UpsidedownJJ and UpsidedownTOC. They were based on monospaced or typewriter fonts, and were rotated 180 degrees, which is the same as a vertical flip followed by a horizontal flip. Recently I was reminded that this way of creating an upside-down typeface is not the only way to create an upside-down typeface--a simple vertical flip creates a different one. That is what this typeface is, a simple vertical flip. The original typeface on which this one is based is JetJaneMono.

Many years ago I created two upside-down typefaces, UpsidedownJJ and UpsidedownTOC. They were based on monospaced or typewriter fonts, and were rotated 180 degrees, which is the same as a vertical flip followed by a horizontal flip. Recently I was reminded that this way of creating an upside-down typeface is not the only way to create an upside-down typeface--a simple vertical flip creates a different one. That is what this typeface is, a simple vertical flip. The unflipped typeface from which VerticalFlipTOC is derived is TiredOfCourier.

The font is called "Menalde", it is slab serif display with vintage themes. The font comes with 4 style typefaces (regular, rounded, rough and textured). Uppercase and lowercase have different unique stamp textures, so you can combine the same 2 letters and not be boring . The Menalde matches applies in some designs such as the logotype, poster, label, badge, packaging, branding, and more custom design. Menalde includes : 4 style typefaces (regular, rounded, rough and textured) All-caps, numeral, symbol and punctuation Multilingual PUA Encoded Thank you for your support and choosing us.

My kids love toadstools, especially the red capped ones with the white spots (they’re called Amanita muscaria, a.k.a. fly agaric - in case you’re wondering). A couple of months ago you could find loads of them in the forest, but now they’ve all disappeared. Toadstool font will not disappear, however. It is a very legible, clean and neat text font with an uneven baseline, slightly bouncy glyphs and more diacritics than a forest has mushrooms. Use if for packaging, kids’ book covers and posters. This toadstool is the non-toxic variety, so go nuts.

The intention with Capo was to make a typeface with a pinched, angled connection between curves and verticals. We have explored this incised, cut motif previously on typefaces, most notably Noah, Sabre and Harbour. These have focussed more specifically on stone-cut forms. For Capo we wanted to mix the expressive quality of its ‘pinch’ idea with an overall aesthetic that could be applied to text rather than headline. So Capo has something of the function and warm, organic quality of Grotesque style typefaces. In Capo’s Bold and Black weights the sharpness of the letter shapes is more dramatic and emphasised, making for great effect for large-sized text. Why Capo? A capo is a device used on the neck of a stringed (typically fretted) instrument to shorten the playable length of the strings by pinching or clamping them in place, hence raising the pitch.

Opal Pro is a text family designed by Hannes von Döhren in 2008. It gives every text a noble character. The typeface has long ascenders that clearly rise above the capital letters and a low x-height. Opal’s letters sport inktraps at stroke junctions, which on one hand create a cutout feeling and on the other hand strengthens the image in larger point sizes. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to the Italic and Bold, the Opal type family includes a Script face, whose letterforms include connections, similar to handwriting. On top of that, the typeface possesses swash letters for italic and script, small caps, many ligatures and borders & ornaments. With a little bit of care, designers will be able to create the finest of traditional, elegant work with this family.

Wooden Alphabet is a peculiar wood texture and shape-inspiring display font having unique, attractive letter designs in prominent uppercases along with wood textures to express natural nuances. All of the font letters are very carefully, smoothly designed in detail as if they were made of real wood. In fact, wood textures on the letters leave the impressions of warmth and nature on the designs. Wooden Alphabet excels at the ability to create natural impressions and warm nuances in order to make your designs look interestingly different for increasing the product’s attractiveness. Such a wood-themed font is a perfect match for any nature, environment, or organic related products. To be greatly legible, you can use it for big text sizes. Wooden Alphabet provides a clipart in accordance with the font theme as a bonus and features you can enjoy. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Wooden Alphabet fits best for various design projects, such as brandings, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Musical notes and letterforms, silences and white spaces, pentagrams and lines, music and writing have much in common and go beyond time, cultures, styles and locations. This new typeface emerges from the blend between the lyrics and the harmony, rhythm, femininity and luminosity of the traditional musical forms. It`s not about blues or rock, tango or salsa, instead it recovers the neoclassical characteristics of the current musical notation system and revitalize the essence of its signs. Taking care of both the function and the form, Elisetta has been specially designed for the writing of texts and musical sheets considering all its elements and communication needs. This source of inspiration also makes the font really good for extensive texts, since its design is based on situations that require high line performance, great readability and high aesthetic coherence. With 5 variables that vary in weight and style, the typography gathers asymmetry and organic nature in vertical structure, narrow horizontal proportions, high x height and extreme contrast between black and white. Elisetta Book has been created for the writing of clear texts and long lines composed in small sizes inside and outside the pentagram; Elisetta Italic intensifies the organic nature of the musical keys by offering softer signs, contextual alternates and initial caps; finally, Elisetta Display increase and emphasize the contrast between vertical stems and horizontal lines to highlight short texts and titles. For those who love music and for those who like romantic forms, this typography has a lot to offer: Elisetta is the best option to write light words with style, compose clear and rhythmic lines and read comfortable paragraphs with high performance. You can tell everybody this is your font, how wonderful life is while you're in the world! * This typeface was originally designed and supervised as «Elisa», the main project of the Master in Typography at University of Buenos Aires, Argentina.