Grayson is a 1940s art deco typeface. The inspiration came from vintage store signs in London, New York, and other major cities. The font is clean, easy to read, and its letterforms are memorable which makes it perfect for branding. You can use this font for a wide variety of projects, possibilities are endless. The downloads comes with OTF and TTF versions of the font. Enjoy!

Introducing the Wahoobomex Dynamic Blackletter Font - A Modern and Strong Typeface with 785 Characters, Ligatures, and Alternates! Are you looking for a font that combines the timeless charm of blackletter typefaces with a modern twist? Look no further than the Wahoobomex Dynamic Blackletter Font. This remarkable typeface strikes the perfect balance between tradition and contemporary design, making it ideal for a wide range of creative projects.

Killega is a bold and modern serif font. Elegantly crafted to become a top choice, this font has the potential to bring each of your creative ideas to the highest level!

Sangki is a cool and bold serif font. Masterfully designed to become a true favorite, this font has the potential to bring each of your creative ideas to the highest level!

Be Bold is an incredibly unique display font. Masterfully designed to become a true favorite, this font has the potential to bring each of your creative ideas to the highest level!

Mleyoth is a bold and detailed blackletter font. Masterfully designed to become a true favorite, this font has the potential to bring each of your creative ideas to the highest level!

The Raphael of Flowers is what they called Pierre-Joseph Redouté a couple hundred years ago. The Belgian native became famous in France, where he painted floral watercolors for both Marie Antoinnette and Empress Josephine. But what cemented his legacy was his perfection of a stipple engraving technique that brought his art to the masses. Botanical Scribe is modeled after the neat, cursive hand-inscribed legends on these antique prints. Because it simulates handlettering, the font retains a warm, organic quality not seen in fancy modern scripts while remaining both elegant and legible. (Its many ligatures lends to this authenticity.) Good for formal invitations or historical simulations.

CAIRO is a modern and sleek font that exudes simplicity and sophistication. This minimalist sans-serif font features clean, crisp lines with subtle contrasting strokes, adding just the right amount of edge to its overall design. The font's simple and unassuming style makes it a versatile choice for a wide range of design projects, from branding and advertising to editorial layouts and web design. The font comes in two styles: Regular and Oblique. The Regular style is perfect for headlines and titles, while the Oblique style adds a touch of elegance. The Oblique style is also ideal for creating emphasis and drawing attention to key elements within a design. CAIRO's design is inspired by the contemporary architecture. Its clean, minimalist look reflects the modern and forward-thinking nature of the city, making it a perfect choice for designers who want to create a bold, sophisticated look for their projects.

In the tradition of the stock cuts that printing type foundries offered as metal, these spot illustrations remind you —for their look and technique— of vintage publications like victorian age newspapers and magazines. Similar to their counterparts in the Whimsies, Absurdies, Ombres, Bizarries and Whimsies series, the Genteta is another collection of little people in funny and absurd situations, recreated in black ink, from imagination and with no reference or models, and then carefully digitized. The Genteta trio of dingbats includes more than 150 new images. Their vectorial file format means you can use them at any size with no loss of quality. Every Genteta dingbat offers ready-made images for a variety of creative projects. They can be used as they come or easily customized in any graphics program. At small sizes they are ideal spot illustrations with a whimsical touch; at large sizes they can bring a whole page, a spread or even a big poster to life. Use them in creative projects including, but not limited to, flyers, brochures, book jackets and editorial illustration.

Introduced by Timurtype Studio! Classic Fairy is a Monoline Handwriting Font This font showcases the art of monoline handwritten fonts – a symphony of elegance and charm. Let charming threads weave a tale of elegance in your designs, where every curve whispers sophistication and timeless appeal Classic Fairy Font also supports multilingualism. Enhance your designs with our original fonts, feel free to comment or provide feedback, Enjoy the fonts 😊 Thank You

Introduced by Timurtype Studio! Realistic Harvest is a Handwritten Script Font this font Captivates with elegance Handwritten font, where every curve reveals a story of elegance and every detail is a brushstroke of luxury. A visual symphony for those who appreciate the art of beauty. Realistic Harvest Font also supports multilingualism. Enhance your designs with our original fonts, feel free to comment or provide feedback, Enjoy the fonts Thank You

Hiladous is a bold and retro-styled handwritten font. This font reads as strong, confident, and dynamic, and can add tons of nostalgic character to your designs. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease!

In Lewis F. Day’s 1910 classic, Alphabets Old and New, the author presented the inspiration for this typeface as an example of German monumental lettering, most likely to suggest not that the typeface was really big, but that it had been found on German monuments. Bold yet charming, the face takes its name from a picturesque village in the Bavarian Alps which was the ancestral home of the Gröbl line of Curtii forebears. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

Uno font family comes in two weights and two styles. Generally, rounded fonts seem funny and pretty. This feature is valid for also Uno Font Family but although the characters of Uno Font Family are rounded, they seem masculine and serious. It is legible in small type sizes. With its decorative view, you can get matchless products in typographic works, t-shirt prints, posters, logos and every kind of graphic works.

Asyatu Arabic style font. These fonts are not only useful and beautiful. They are also well made. Our designers work hard to ensure the quality of each font is similar to that of a professional calligrapher. This font is perfect for you whether you are designing Islamic greeting cards for your friends’ weddings. Invitations for big events like engagement parties or birthday parties, as well as your various special projects.

Brigast modern retro typeface Hi Ladies and Gentlemen! According to the market demand for fonts that tend to be more modern, then I decided to make a serif font that is in your view. The Brigast font is a serif font with very beautiful and popular alternates, comes with a modern style hoping to become a market favorite. We keep this font looking elegant, classy, ​​easy to read, stylish, attractive and easy to use. Brigast Font is a great choice for magazines, wedding invitations, retro designs, newspapers, books, brand names, branding, branding, quotes, album covers, and other projects. The Brigast font is here to take the quality of your designs to a higher level. Brigast Font is my thirtieth Font created in 2023 The Brigast font style will make you love designing and taking advantage of the cool design results for this font. Continue to follow us for updates on making further fonts :) Font Features: • Standard uppercase and lowercase letters • Stylistic alternate • Stylistic ligatures • Multilingual Support • Numeral and punctuation

Friday After is a vintage calligraphy font that exudes timeless charm and sophistication. Inspired by the elegance of classical handwriting, this font features intricately crafted letterforms with graceful curves and delicate strokes. Its vintage appeal transports you to a bygone era, adding a touch of refinement to your designs. Perfect for invitations, greeting cards, and projects that require a touch of old-world beauty, Friday After captures the essence of traditional calligraphy with a hint of nostalgia. This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease! COMPATIBILITY Windows Apple/Mac Linux Easily convert to webfont Cricut Silhouett

Perva is a suite of three eye-catching fonts inspired by display types from the 19th century. This unconventional family has three different font styles that can be used individually or combined to build a playfulness multi-typeface design system. It is suitable for titling, posters headlines, book covers, packaging, social media, and branding. Perva brings together a Slab serif font, a.k.a Antique or Egyptian; a Reverse-contrast or Italian; and an Old English Blackletter. The design is inspired by the display types listed as “Typographic monstrosities” in Thomas C. Hansard’s book Typographia (1825). What he found absurd was understood here as interesting and enjoyable to introduce a contemporary approach of the types widely sold by foundries such as Bruce’s New York Type-Foundry and Caslon Foundry. Each of the three fonts holds around 400 glyphs, covering the languages of Northern, Western, Central, and Southern Europe. Opentype features include case-sensitive forms and a couple of alternates for the Blackletter style.

Ciseaux Matisse was inspired by the exhibition Drawing With Scissors, which I visited at the Kunsthalle Schirn in my hometown of Frankfurt am Main in 2003 and the book Jazz published in 1947 by Henri Matisse. Admittedly, before that time I wasn’t a fan of Matisse’s work, neither his late nor the early work. That definitely changed after the exhibition. While his motifs have been overused on postcards and mouspads, in front of the originals you forget those tiny pictures. Some of the works were massive—larger than 24ft. By cutting directly into the color Matisse created shapes with strong dynamics. Years later, in 2007, I used that inspiration to cut an exclusive font for a newspaper that I designed at that time (see Gallery Pictures). Later I developed that font into the four styles featured here. The cut-out style is a paper cutout; boxed is the paper background. Both linear and boxed linear have no curved outlines, so they are more aggressive. As drawing with scissors implies, all characters are cut by hand. With only uppercase letters, this font is designed for editorial use: headlines, slogans in ads, or musical usage in posters and flyers that need the little touch of the jazz scissors. In special cases the lowercase letters contain alternate shapes to the uppercase forms.

Giuconda is an elegant and modern sans font. This font provides a cleaner, more geometric look, preserving the essence and structure of an early 20th century sans classic font but with a fresh, clean and contemporary look. Giuconda consists of two subfamilies of 8 weights, ranging from Thin to Heavy, with matching italics, giving a total of 16 fonts. Giuconda is the perfect font for publishing, titles, books, magazines, and corporate designs. Its Alt version is ideal for logo types, branding, packaging, and use on the web and TV. The family contains a 355 character set that supports 207 different languages.

Johann Neudörffer the Elder's 1538 writing manual fascinated the German designer Helmut Bomm for years. Together with Albrecht Dürer and Hieronymus Andreä, Neudörffer helped create Fraktur, perhaps the most Germanic of all the blackletter styles. As a tribute to this master, and bringing its letterforms to a 21st century public, Boom released the Neudoerffer Fraktur family through Linotype in 2009. Neudoerffer Fraktur's appearance is based very much in handwriting, and Bomm had already begun using letters from prototype versions of this typeface as early as the 1990s. For years, Neudoerffer Fraktur'sletters would appear secretly and seductively in design projects like historical sign restorations or heraldry pieces. The sources that Bomm used while drawing the typeface were images from Jan Tschichold's Treasures of Calligraphy" and Albert Kapr's "Schriftkunst." The Neudoerffer Fraktur family has four separate fonts. Any user of Adobe CS applications should consider licensing Neudoerffer Fraktur Regular (the font without any numeral suffixes). This font contains three different OpenType stylistic sets. Users can pick and choose which versions of the letters that they would like to set. Anyone using Quark XPress, Microsoft Word, or other applications without support for Stylistic Sets should license Neudoeffer Fraktur Regular 1, Neudoeffer Fraktur Regular 2, and Neudoeffer Fraktur Regular 3. Each of these three fonts has letters with slightly different style of flourish, and all three may be combined with each other. Neudoerffer Fraktur Regular 1 is optimal for longer texts; Neudoerffer Fraktur Regular 2 contains alternate letters, and well as more ornamented capitals; Neudoerffer Fraktur Regular 3's letters have a stronger calligraphic accent."

This font is for anyone who wants to give a touch of pain and horror to their project. This handwritten font is suitable for display use, titles, and some designs with the theme of sadness, fatigue, or anything alike.

A 1928 poster by Italian designer Neri Nanetti for Snob Cognac provided the inspiration for this attention-getting offering, named after one of the Marx Brothers' most memorable movies. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

This family was created inspired from the typeface models hand drawn circa 1610s by Basilius Besler (Germany) for the carved plates of his spendid “Hortus eystettensis”, a botanical manual, masterpiece of the period. This “Pro” font contains standard ligatures & numerous alternates, usable for Western, Central and Eastern Europe, Baltic and Turkish.

Originally issued by the Palmer and Rey Type Foundry of San Francisco in 1884, this typeface bore the name Octagon Condensed, and is as fresh today as it was way back when. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Here's a font with a special backstory. Prickly Pear is a handwritten font, created in a moving car, on the way to the Simpson Desert. At the mercy of every bump, hump and hole in the road, this font is as rough and realistic as its conception. A unique and messy handwriting font reminiscent of the rugged landscape; it'll be perfect for that design project where you need a little raw authenticity. Prickly Pear has a comprehensive character set of over 160 custom ligature combinations and 56 multi-lingual characters.

Le Havre Width is the loveable putty of fonts. Stretch it. Squish it. Squeeze it. Whichever way you play with it, you’re bound to find hours of fun ahead. This avant-garde typeface family has six distinct weights--each one including a set of four different widths. It’s randomized rhythm also includes selectable glyphs for customization, enabling you to bounce plenty of ideas around for diverse logotypes as well as for specific looks focused on a single width. Looking for even more fun with this geometric sans? Try adding in some of the alternate ligatures, or use the two different art deco styles included with the font. The all-around whimsical nature of Le Havre Width is perfect for toys, posters, T-shirts, cards, and anywhere else where fun is the name of the game.

Poster artist A.M. Cassandre designed one of the most evocative typefaces of the Art Deco era, Bifur. This type was unusual in many ways, but one of the most distinct features was that besides a regular one-color font, it was also available as a two-part font for a chromatic treatment which was highly unusual for metal typefaces. This "bifurcated" type is almost impossible to find in print shops or even in specimen form. It has however become recognizable as a true icon of the Art Deco genre. The IHOF version of P22 Bifur features the addition of a lower case alphabet as well as multiple options for the shading layer, allowing for a wide range of design applications from straight-forward Deco headlines, to abstracted and de-constructed experimental design.

Iza and Paulo W (Intellecta Design) are proud to announce Van den Velde Script. A free interpretation of the work of the famous master penman Jan van den Velde, to be found in the “Spieghel der schrijfkonste, in den welcken ghesien worden veelderhande gheschrifften met hare fondementen ende onderrichtinghe. ” (Haarlen, 1605). Van den Velde Script has evocative ancient ligature forms from the XVII Century Dutch master penman Jan van den Velde. Your indescritible writing-book was important not only with regard to the specific period it represents, but also in relationship to the entire history of calligraphy as an art: Van den Velde is rightly credited with having introduced and perfected a new trend in Dutch calligraphy. Our font, Van den Velde Script merges modern necessities o better legibility without loose the taste of his archaic origins. This enhanced OpenType version is a complete solution for producing documents and artworks whith a evocative and voluptuous style of calligraphic script: - dozens of stylistic alternates for each letter (upper- and lowercase), accessed with the glyph palette; - historical ornaments and fleurons in the typical style (and motifs) from the XVII century at the Lower Countryes accessed with the glyph palette using the Ornaments feature); - an extensive set of ligatures (100s of contextual alternates plus discretionary ligatures) providing letterform variations that make your designs really special, resembling real handwriting on the page; - a tour-de-force kerning work: over 700 gliphs in this font was adjusted to your kern pairs handly. In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. Because of its high number of alternate letters and combinations (over 700 glyphs), we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette: principally to get all the power of the Contextual Alternates feature. You can has an idea of the power of this font looking at the “Van den Velde User Guide”, a pdf brochure in the Galçlery section. Two last things: take a special look at the Van den Velde Words (ready words) font and another super script font, Penabico. Van den Velde Script has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

Originally issued as Palm from the A. D. Farmer Foundry in New York, about 1887. This is a good early example of the transition from the ruffles and fluorishes of Victorian fonts to the more restrained decoration that came to be called Art Nouveau.

This rough-and-ready display face is based on El Greco Antique, released by the Fundición Richard Gans of Madrid in the 1930s. Distressed but not distressing, rough yet charming, ragged around the edges but curiously refined. Named after a village in Greece which is the ancestral home of the forebears of the Curtii. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Hexide JNL was modeled and modified from an original design created by the late sign artist Alf R. Becker for Signs of the Times® Magazine. Thanks to Tod Swormstedt of ST Publications, Inc. and the American Sign Museum of Cincinnati, Ohio for providing the reference material used to make this font.

Electrical Tape is a mono-case display type. The idea came from generating custom letters using pieces of electrical tape. The over all design was then influenced by the graffiti subgenre as well as a hint of constructivist influence. Recommended applications of the font are for display purposes as well as digital media.

Allabbad typeface was inspired by one of the hand letterings that belong to the godfather of Arab graphic design, Mohieddine Allabbad. The typeface is part of the Arsheef Alkhatt Project, a platform that revives and tributes classical Arabic lettering from different resources and presents them as affordable, digital fonts for independent designers.

The font extra bold slab serif with reverse contrast, he refers to the “Italian” or “wood types”. This decorative display font is designed for use in large sizes, suitable for the lettering, the major labels, headers, logotypes. Ideal for embedding images. It's an all-caps font, but there are biform variants of a, e, m, n and u, so you can mix things up to create more interesting headlines. This font contains the complete Latin language character set (Unicode 1252) plus support for Cyrillic (Unicode 1251), Central/Eastern Europe (Unicode 1250), Baltic (Unicode 1257) and Turkish (Unicode 1254) languages as well.

David was promised Saul’s daughter in marriage after he defeated Goliath. However, while Saul procrastinated in delivering his elder daughter for marriage, David fell in love with the younger daughter Mikal (1 Samuel 18:20,28). Mikal was the only wife who was reported to have loved David. Her name, Mikal, meant brook, or stream, a symbol of the water of the word. Mikal is a versatile and elegant script font; well suited in the area of magazines, web pages, packaging, logotypes and advertising, etc. This font can be used as body text for its good legibility and accurate kerning. Mikal font has all the advantages of OpenType technology that allows a variety of combinations: Swash, old style numerals, standard and discretionary ligatures, contextual alternates, word ending and tails. Mikal supports all Central European character set as well as basic Western languages.

This font was made possible by creating a custom brush in Illustrator. I started with a flat brush dipped in India ink to create the stroke. From a scan of that stroke I made a vector tracing which I then I altered as necessary to get the desired dimensions. The lower case letters have a thinner stroke than the capitals.

Viory is a versatile font family. There are 7 thicknesses that match the italic version. They will complement each other to support your design. Equipped with Stylistic Set, Discretionary Ligature and Alternative Character features. Viory has a smooth shape because the pressure on each curve has been adjusted to the ideal. The impression of an elegant and classic is in this family.

Emporia JNL is a wonderfully decorative and vintage wood type named for a city in Kansas, and modeled from just a dozen images of individual type blocks spotted for auction online. The release of this typeface is also a milestone for Jeff Levine Fonts. The foundry started in January, 2006 with only ten releases, and has now grown to be an impressive library of unique lettering designs from the past. The collection also contains numerous original and novelty creations. Emporia JNL is proudly released as the 500th font design to join this extensive library.

Zebrawood font is a joint work of the typeface designers K.B. Chansler, C. Crossgrove and C. Twombly, who also designed Rosewood, Ponderose and Pepperwood together. Like its relatives, Zebrawood also displays a kind of Wild West character. Its style can be traced back to the Toscanienne typefaces which appeared in advertisements and on signs at the end of the 19th century. Typical of this capital alphabet are the split serifs and robust base forms, which emphasize the typeface's decorative character. Zebrawood is, like Rosewood and Schwennel, meant as a bicolor font, meaning that the weight Zebrawood fill complements the inner spaces of Zebrawood regular. When used carefully in headlines, Zebrawood font will be sure to attract attention.