The classic font as designed by F. W. Goudy for ATF in 1901, now in a hand-drawn version for a little bit of variation. Everybody else just offers another version of the same old Copperplate, but I now have a new rough one. Oh, just for the record, I have a couple of other versions of this font in my collection of the Copperplate Classic fonts. Your rough designer Gert Wiescher

This is a new and improved version of an old freeware font named Materhorn, hased on a design originally called Fanfare, designed by Louis Oppenheim in 1927 for H Berthold AG. The outlines have been completely redrawn, the entire font has been thoughtfully hand-kerned, and OpenType features have been added. Additionally, the font contains not only the complete Latin language character set (Unicode 1252) plus also support for Central European (Unicode 1250) languages

From the mid -17th century, new commercial writing styles emerged which clear showed the influence of pen-crafted calligraphy. A traditional pen-formed flowing script as the “Citix” font, may be suitable for commemorative letters, invitations cards and the most elegant visual communications projects. This font comes with three different kinds of capitals, regular and swashes to choose from, a full set of stylistic alternates, standard and discretional ligatures. Old style numerals, ornaments and tails.

Konrad Kachelofen was a printer in the city of Leipzig beginning around 1483. He printed many works by contemporary authors and also many of the classics. He acquired an unusually large amount of typefaces for his shop, a place that included a wine bar and book store. This type face is based on Typ.11:340G GfT510 Gesamtkatalog der Wiegendrucke and is similar to Proportional Lime’s “Kachelofen'' font. The major differences are that the whole miniscule set is slimmer and the majuscule set has different style glyphs and this face was used solely for titles and section headings because of its sharper and clearer appearance at large point values. Konrad probably died in 1529 after passing his business on to his son-in-law Melchior Lotter, who also went on to fame as an industrious and illustrious printer.

Everleigh is an elegant thin typeface inspired by antique old school fonts. It includes lots of ligatures and stylistic alternates helps to create an authentique and original lettering compositions. Also this font has multilingual support. Check out all available characters on the previews. Thank you and have a nice day!

This display decorative slab-serif typeface, contain reverse contrast which remind the old western style, there are also stencil version available (Invertida St). Invertida font family contain Latin and Cyrillic encoding characters and italic versions are also available too. Open type features can provide more options (stylistic alternates, ligatures, swash, figures).

The Dinkle fonts are the creation of a sketchbook artist who spent years refining her craft, Diana Hollingsworth Gessler. She created the Dinkle handwriting fonts for use in her book "Very New Orleans," and now you can use it in four convenient styles: Regular, Bold, Italic and Bold Italic. Each font in this family was drawn individually, capturing nuanced differences of natural penmanship when the weights are paired together. A hand-lettered journal style, the highly legible Dinkle fonts offer tidy text and clear captions. Use it for signage, quotations, or anywhere you need a personal touch in your designs.

Envegas is a Modern Ligature Serif Font. Its soft curves mixed with high contrast glyphs, give it a feminine and masculine quality. A blend of modern and old styles and equipped with unique ligatures, discretionary ligatures, and alternates. Great in layout design for quotes or body copy, best used as a display for headings, logos, branding, magazines, product packaging, and invitations. Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support. Feel free to follow, like, and share. Thanks so much for checking out my shop! If you need a custom license or have questions, please email: sayfulyusfi@gmail.com

The four weight semi-condensed Bartholemé family came into existence as a family expansion based on the designer's earlier concept, Bartholemé Open. This hybrid family was inspired by and loosely based on a number of contemporary mid-twentieth century type concepts having Old Face or Modern influence. Those inspirational type designs were primarily designed for various proprietary photolettering technologies of the time. The award-winning* Bartholemé Open and its companion design Bartholemé small capital open were inspired by various Shaded, Inline and Handtooled type models from the nineteenth and twentieth centuries. Most of those inspirational type designs were designed as titling fonts with all capital sets only. To set it apart from the earlier models, Bartholemé Open is semi-condensed intentionally designed with a lowercase. Design qualities include a large x- height, tightly curved ample counters, crisp serifs and tight bracketing. The overall plan of the family was originally intended for display usage in titling and short passages of text. At higher output resolutions all fonts read well at smaller point sizes. The Bartholemé family works well on its own, but also is compatible with type styles possessing qualities that complement or enhance its own. The Bartholemé family consists of a Regular weight complementing a Bold weight, along with Medium complementing an Extra Bold weight. The companion true-drawn italics are based on the Bartholemé roman design. * Award for Design Excellence bukva: raz! Type Design Competition of the Association Typographique Internationale, 2001

The result of creativity and expertise. Nathatype presents a new font in special setting. It encapsulates trendy and cute impression through the combination of uppercase display and script fonts. Discover your very best design style by mix and match this font duo. Features: Ligatures Stylistic Sets Swashes Multilingual Supports PUA Encoded Numerals and Punctuations This font is perfectly used for your presentation, designs, branding, quotes, invitation, website illustrations, etc. See the font preview to get more inspiration about how to use it. Thank you for purchasing our premium fonts. f you have any further question, please don’t hesitate to contact us. Happy Designing.

Rapazola is a new geometrical typeface, it was inspired by the moments of childhood and it's play. This typeface contains five different weights, Extra Light, Light, Regular, Bold and Extra Bold, all with the completed alphabet A to Z, upper and lower case, all numbers and some symbols.

The Sabon® Georgian design translates the original Sabon typeface into Georgian language. Its old style Latin-based design traits and proportions have been carefully and beautifully interpreted as Georgian script characters. In the early 1960s, a group of German master printers wanted a typeface family which would provide them with consistent and predictable results, whether it was used as machine or hand-set composition. They approached one of Germany’s most distinguished type designers, Jan Tschichold, to undertake the design task. The end result of the design commission is a typographic tour de force, and the face that establishes Tschichold’s reputation as a type designer. The completed design, released in 1966, not only solved the imposed design problem of the early 1960s, it is also an exceptionally beautiful and useful digital design. The Sabon® Georgian design further extends the range of this remarkable typeface

Handsome in its own way, More versatile than one could say. Four alternates to each letter, Because in this family Spontaneity do matter. (And just in case someone wonders, Yes, there are alternates for numbers!) Seven cuts the family holds. Six of them Are for saying with words. And the very last, (Before someone asks) Holds some very cool dingbats. ​Books, app​s​, ​mags, To just name a few, ​Now go with Somehand And try something new​ :)​

Tinteretto is a very beautiful, decorative Art-d�co font which is ideal for ad design about fine arts events and the world of arts and crafts as well as in restaurants, bars and for food packaging. Tintoretto harmonizes well with serif and sans serif fonts created at the beginning of the last century. It contains character sets for West and Central European as well as for Romania and Turkey. When Unger started his work on Tintoretto, he had the splendid idea of adding a Fill version to the original 3D characters. Combining both fonts make it even stronger and more beautiful. How to combine both fonts in order to achieve a color fill effect: Type your word or phrase and do not make any changes to the spacing or kerning. Duplicate or copy the original and change it to the Fill version (font change). Apply a color to the copy and position it exactly behind the original. See and love the result.

I've been working on a usable sans serif for body copy since the mid-1990s (though I certainly did not know it at the time). This one works well. It started life back in the mists of time as a scan of an old German font by Carl Fahrenwaldt. It was developed fully as a synergized serif with strong traditional roots and released as Bergsland Pro. Now it finally makes it to where I was headed all along as a sans text font. This is a well modulated humanist, sans serif font family with many OpenType features and over 600 characters: Caps, lower case, small caps, ligatures, swashes, small cap figures, old style figures, numerators, denominators, accents characters, ordinal numbers, and so on. It is designed for text use in body copy. But it also works very well for elegantly stylized display.

This handwritten font is inspired by the cholo calligraphy of graffiti artists. It has a scary design, which is suitable for horor film posters and at the same time for signs and tattoo designs. It has an original style an effect font also available in a color version with drops of blood or paint to give a more lively touch. Try using it for your halloween party invitations or for your tattoo designs, for scary greeting cards. I used the word "Cholo" because this lettering in inspired by cholo-graffiti culture in Los Angeles in 70's years. The one of the best rappresent is Charles "Chaz" Bojorquez the father of cholo-lettering. Cholo because i think that in 70's in Los Angeles neighborhoods where graffiti-culture grow up there was a persons whit a mixed multicultural connexion and Chaz is one of them. Cholo-graffiti or Cholo-lettering is a specifing style o lettering. I think this is a good keyword for this lettering.

Linotype Gotharda is part of the Take Type Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This display font started as an experiment of the Croatian-German designer Milo Dominik Ivir. He wanted to design a font with characteristics of both sans serif and Gothic faces. From the Gothic he took the heavy strokes, the narrow letters, the exaggerated overmatter and the high x-height. The modern standard forms of the letters s, a, x and z, the clear capitals and the lack of serifs are the characteristics taken from sans serif faces. The result is a font with a constructed, old German feel. Linotype Gotharda is intended exclusivley for headlines in large point sizes.

What do you get when you mix iconic Cooper Black from 1922 with an even older font, equally iconic Windsor from 1905? Well of course, you get Manchego! Manchego combines the best of both: the plump features and serifs from Cooper with seriously bold forms, such as the oversized bowl of R, peg-legged N, pinched U and leaning a, h, m & n giving it an adorable retro-appeal. With these distinguishable features Manchego works extremely well with illustrations or can actually be used as an illustration per se. Despite its vintage charm, Manchego is fully equipped with modern OpenType features. Standard ligatures help with certain difficult character combinations. In addition Manchego sports Swash, Titling & Stylistic Alternates that can be deployed for more original look. Try Manchego with a bit tighter kerning for more 70s feel.

This font is influenced by the advancement in graphic computer technology that has evolved since the first basic pixilated computer games. This typeface aims to be bold and brazen. The fonts primary function is heading use.

Jheronimus is a neo-humanistic grotesque. A font with an open aperture. It has straight terminals and a moderated height of the lowercase characters. Jheronimus is a font with a uniform ordered rhythm. Well readable on the screen in small size. Consistent letter proportions. The rounded elements are pill shaped and the font has pronounced connections strokes. Punctuation marks are well decorated. Jheronimus will satisfy the demanding typographer. There are oldstyle figures in the best traditions of humanism. The bright recognizable character is combined with a clear form. This creates a sharp, crystal impression. Jheronimus is suitable for the design of an ambitious, temperamental text. It is stylistically similar to the paintings of the Dutch artist Hieronymus Bosch. From this comes its name.

Linotype Startec, from Jan Tomás, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. This is another fun font from Tomás, who also designed Alphabat, and the two share some characteristics. Linotype Startec is an outline font whose unique forms are reminiscent of futuristic dreams and space adventures. It should be used in point sizes of at least 18, but the phrase 'the bigger the better' fits this font well. The careful details and figures of the alphabet turn into UFOs and space ships from another world when set in very large point sizes. Linotype Startc is best for very short texts and headlines.

ITC Simran was created by the London designer Satwinder Sehmi in 1998. The Indian influence is recognizable at first glance and lends the font an exotic feel - at least to the western eye. Sehmi borrowed forms and feelings from northern Indian writing systems for this typeface. Both the upper and lowercase letters make use of the same lowercase forms, but the upperacse letters have the addition of a horizontal bar running over them at the ascender height. This feature is directly reminiscent of writing systems in northern India, and is ITC Simran's most distinguishing characteristic. But there were other influences as well: Sehmi was also inspired by uncial forms when designing this typeface. ITC Simran exhibits the typical look of writing with a broad-tipped pen, with its strong strokes, as well as characteristic letter forms, for example, the a or h. ITC Simran is a fascinating and harmonious symbiosis of a variety of influences from different cultures. This font is best used for headlines and short texts in point sizes of 12 and larger.

Merina is a fat slab typeface, and works best in text and display applications, such as headline, posters, signage, magazine, product branding, corporate branding, logos and titles. Several alternate characters are included in this typeface.

Cyra is a shaded roman serif classic font. Distressed and antique, use this font in display purposes for a stylized type design. Uppercase letter designs only, works best when used for headers and set manually.

A casual, open brush script style designed with a shadow effect for a three-dimensional impression by British designer Martin Wait. This typeface looks best with tight letter and word spacing in large display settings.

Mossimo is a fat slab typeface, and works best in text and display applications, such as headline, posters, signage, magazine, product branding, corporate branding, logos and titles. Several alternate characters are included in this typeface.

Sailfin is a condensed geometric typeface, and works best in text and display applications, such as headline, posters, signage, magazine, product branding, corporate branding, logos and titles. Several alternate characters are included in this typeface.

On a cold winter's night, George Ryan, of Galápagos Design Group, began musing on the possibilities for a “truly original” sans serif typeface. What came out of his musing, and his always-present sketchpad, was ITC Adderville, a typeface whose visual impact is immediate and strong. Ryan explains how he did it: “The rounded ends of its strokes and their skewed baseline contact create an illusion of dancing feet. The tops of lowercase stems emit serif buds, suggesting transition into or out of the serifed form. The spear-like lowercase stroke terminators, along with other distinctive elements such as the stylized reticulation of the lowercase 'g' segments, the salute of that same character's spur, and the bold, non-self-conscious 'i' and 'j' dots, all contribute to the playful and unique nature of this design.” The result is a friendly, lively type family whose graduated weights -- book, medium, and heavy -- lend themselves especially well to use at small display sizes and in short blocks of text.

Jh Fares is a modern / simple Kufic style font. The user may notice plenty of white space around the text leading to a highly readable font. The Kufic script is one of the oldest Arabic Handwriting, first appeared in el Koufa - Iraq. The original calligraphy was derived from the Aramaic letters; later it went thru lots of enhancements. Its typical uses include decorative writings for Mosques / palaces, Magazines / Newspapers / Books titles and Greetings.

GiraffeSkin is an exciting, contemporary font. The popularity of the "animal skin" look in contmporary clothing and soft furnishing design make GiraffeSkin a must for designers on the cutting edge. It is best used for headings and where you intend to make a strong impact, with an African wildlife look. The font comes in two versions, one based on the popular Kassena font, the other based on Zim, one of Scholtz Fonts new designs.

Dufour was named in honor of an art deco font called "Independent" designed in the 1930s by Collette and Dufour. "Dufour" is influenced by the original font, however, there are substantial differences: instead of small caps, a true lower case was created, the upper case character proportions and shapes have been greatly modified, and all missing characters have been created to make a truly modern font which nevertheless has all of the panache of the original. A related font is Collette, designed by Anton Scholtz, however, Dufour has a softer feel that is more true to the original art deco period. Dufour comes in four styles: Dufour Regular, Dufour Regular Outline, Dufour Condensed, and Dufour Condensed Outline. The font has been carefully kerned and best results are obtained if kerning is switched on. (All-caps passages work well.) It is best used to create a retro feel and in headings, subheads and in short passages of text. Very effective in marketing for products for children.

As a practicing graphic designer there have been numerous occasions when I have needed a font that didn’t exist. More often than not the style I was looking for was described as an extra-condensed sans-serif with a contemporary look that was available in a variety of weights. Small caps would be useful, so would a range of numeral styles. And matching italics too, of course. The proportions would consider viewing on hand-held devices, cell phones, remote controllers. And not forgetting that the font would be used in situations which required stacking the lines close. So the overshoots needed to be eliminated – the exaggeration of extremities that are intended to avoid round characters appearing smaller than their more squarish counterparts, often colliding when linespacing is tight. As I refined the design, I tested it on several works-in-progress providing a valuable testing ground and proving popular with my clients.

Introducing Climora Duo CLIMORA SERIF is a typeface with a feminine taste, with a touch of old style paired with an elegant Climora Script its a perfect combination for your various design needs. CLIMORA Serif has 14 style and 7 weights, - from Thin to Bold and Matching oblique. and 1 Elegant Climora Script that supports multiple languages. Hope you enjoy with Climora Family Thank you

Bingley is a beautifully old-fashioned, proper, and full of class body typeface. The British feel of this face comes from its inspirational source—a tombstone script from Oxford. The characters are squat and nearly square in proportions, even cursive comes with a pronounced breadth. Generous counters and pleasant stroke weight contrast ensure high legibility of any text set in Bingley. Pronounced serifs and drop-shaped terminals further enrich the experience.

Introducing Northas the vintage stencil font inspired by the old-school signage and military design. This font has a bit condensed letterform that gives a strong look and dignified. Perfect for many themes such as sports, military, urban, wildlife, vintage, and more! Fonts featured : Uppercase Small caps Numbers Symbols & punctuation Accented characters Alternates Catchwords: in, out, the, with, de, of, at, and, etc. Thank you for your support and happy designing!

Infuse a vintage elegance into your projects with the "Coffee Man" font. This unique typeface carries the ambiance of old cafes and coffee shops, adding a special charm and character to your work. Inspired by mid-20th-century design, "Coffee Man" exudes an antique charm and sophistication, perfect for giving your projects a nostalgic touch. The font supports multiple languages, ensuring its suitability for projects with a global audience.

Angel Script is a light, contemporary monoline script. There are approximately 695 individual glyphs complete with Stylistic and Contextual Alternates, Titling Alternates, Swashes and even Old Style Numerals. Needless to say, there’s a lot ‘under the hood’, and the typographic flexibility I wanted with earlier concepts shows in grand style with this release. The single weight font includes a complete Central European and Western diacritic set as well.

Main Event is a revival of a very old Italian font that you may have seen in the past under the original name of Tuscan Ornate or Bracelet. Dating back to 1860 or earlier it has never been known to have a lower case set of letters. Previously only in upper case, this font comes alive again with the addition of a newly designed lower case set of letters.