One of the earliest fonts published by Canada Type was Tiger Script, Phil Rutter's digitization of Jaguar, Georg Trump's 1967 wild calligraphic brush face. In 2010, when the font was revisited for an update, it was shown that it too light for applications under 24 pt, and too irregular for applications over 64 pt. So the face was redigitized from scratch. This new digitization brings a more seamless contour and a much steadier stroke, and much better outlines for use at both extremes of scaling. Language support was also greatly expanded, and many alternates and ligatures were added to the redigitized character set. The name was also changed to Trump Script, to better reflect the origins of the design. Trump Script is a master calligrapher's hand producing very uncommon jolts and bursts of sharpness. It showcases some of the most suprising letter forms ever drawn, like the very unique treatments of B, K, W, Y and Z. In the lowercase one can see the cattiest g ever made, and some of the wildest shapes in the f, j, p, y and z. Trump Script comes in all popular formats. The TrueType and PostScript packages are comprised of two fonts. The OpenType version, Trump Script Pro, combines both fonts into one, and includes features for intelligent substitution in software that supports advanced typography. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.

The Ancient South Arabian script (Old South Arabian 𐩣𐩯𐩬𐩵 ms3nd; modern Arabic: الْمُسْنَد musnad) branched from the Proto-Sinaitic script in about the 9th century BCE. It was used for writing the Old South Arabian languages Sabaic, Qatabanic, Hadramautic, Minaean, and Hasaitic, and the Ethiopic language Ge'ez in Dʿmt. The earliest inscriptions in the script date to the 9th century BCE in Yemen. There are no letters for vowels, which are marked by matres lectionis. Its mature form was reached around 800 BCE, and its use continued until the 6th century CE, including Ancient North Arabian inscriptions in variants of the alphabet, when it was displaced by the Arabic alphabet In Ethiopia and Eritrea, it evolved later into the Ge'ez script, which, with added symbols throughout the centuries, has been used to write Amharic, Tigrinya and Tigre, as well as other languages (including various Semitic, Cushitic, and Nilo-Saharan languages).

In June of 2004, Canada Type released Crucifix, a condensed three-tiers typeface that tried to bridge the gap between traditional blackletter forms and the traditional European gothics. The main goal of Crucifix was to have as many as 4 different variations on each letter form, so the original release consisted of three fonts: a main font with a standard character set, a small caps set, and a unicase variation. Now Canada Type presents the next generation of this typeface: Crucifix 2.0 and Crucifix Pro. This new version takes advantage of both Unicode and OpenType technologies to make Crucifix as versatile as ever. The PostScript Type 1 and the True Type version boast extended Latin character set support, including Western, Eastern and Central European, Turkish and Baltic, as well as two non-Latin scripts: Cryillic and Greek. The OpenType version, Crucifix Pro, goes even further by including all of above in one font, along with proper automation to accommodate on-the-fly ligatures, small caps, numerators, denominators, some fractions and a ton of stylistic and contextual alternates - all programmed to work with the latest OpenType-enabled programs. Unique, stark, and with more than 900 characters, Crucifix has that clinical sharpness and special dramatic wonder to make it perfect for mystery, gothic, and horror design settings.

While researching the history of Onitsuka Tiger's branding and graphic design, I came across an odd, yet highly appealing piece of custom lettering on the company's ONICK ski boots from the 1970s. Reminiscent of aspects of the typeface Black-Out by Eli Carrico (released by my type foundry Wordshape), yet vertically compressed with razor-sliced counters and odd stencil element that makes up one of the legs of the "K", the ONICK lettering is a potential source for an intriguing modular font. I immediately thought of Ryoichi Tsunekawa as a potential collaborator to bring this piece of lettering to full-fledged life in the contemporary context. Based in Nagoya, Tsunekawa runs an independent type foundry called Dharma Type, including three specialized foundry sub-labels: Flat-It, devoted to display lettering; Prop-A-Ganda, a series of fonts inspired by and based on retro propaganda posters, movie posters, retail sign lettering & advertisements in the early 20th century; and Holiday Type, a series of decorative and retro scripts for holiday use. The past year has seen a flurry of notice of his work abroad, having been featured in both MyFonts' "Creative Characters" and YouWorkForThem's newsletter. As the work of most Japanese type designers is almost wholly unnoticed abroad, for Tsunekawa to be interviewed by two of the most popular type distribution companies in the world is definitely something beyond the norm. Perhaps it is because he works independently, or perhaps it is due to the charm and friendliness with which his typefaces are infused. Either way, this attention is both welcome and appreciated. Beyond mere charm, Tsunekawa's work is nuanced, detailed, and accessible due to its high level of finish. His fonts stand apart from his contemporaries in Latin typeface design in Japan due to his fascination with pop, vernacular and historical lettering from "non-pure" sources- whereas type designers like Kunihiko Okano and Akira Kobayashi have spent years analyzing the essence of Western letterform construction and unlocking the essence of Latin forms, Tsunekawa views surface and the awkward nature of his sources as being of value, as well. His irreverence for the formal doctrines of history imbue his typeface designs with a rugged inventiveness that would be missed by most- glyphs without source designs are guessed at and approximated, often in a manner wildly divergent from what Western eyes would assume. It is in these moments that I find sheer delight in Tsunekawa’s work and what make me most pleased to invite him aboard Neojaponisme and Onitsuka Tiger’s type development project. His assorted typefaces show an eclecticism in finish and as holistic systems- Tsunekawa's return email to me about the proposed type project showed a digital sketch of how a completed typeface family from the source lettering might look, rendered with an effortlessness and dedication to detail that belies a skilled craftsperson. Further development showed Tsunekawa’s rigor- the typeface in development rapidly featured glyphs ignored by many: a full set of fractions, Eastern European diacritics and accents, superior and inferior numerals, alternate characters, and custom ligatures - all designed with regulated, detailed spacing. ONICK is a typeface Tsunekawa should be proud of- an homage to a moment in history rendered in the absolute best fashion. We are proud to present it to the world! --Ian Lynam

A 14-weight sans family based on the original British ‘M.O.T.’ (Ministry of Transport) alphabet. A capitals-only, single-weight design was drawn up around 1933 for use on Britain’s road network, and remained in use until Jock Kinnear and Margaret Calvert’s ‘Transport Alphabet’ was introduced for Britain's first motorway in 1958. The identity of the original designer is not preserved; however, Antony Froshaug in a 1963 ‘Design’ magazine article mentions Edward Johnston as an advisor. Speculation that it was based on Johnston’s London Transport alphabet is discussed in archived government documents from 1957: “So far as I am aware, the Ministry alphabet was not based on Johnston’s design; indeed, it has been suggested that Gill got his idea from Johnston. Our alphabet was based on advice from Hubert Llewellyn-Smith (then chairman of the British Institute of Industrial Art) and Mr. J. G. West, a senior architect of H. M. Office of Works.” A 1955-57 revision of the alphabet which polished the somewhat mechanical aspects of the original may be the work of stone carver and typographer David Kindersley. For the digitisation, Rian Hughes added an entirely new lower case, italics and a range of weights. The lower case mimics the forms of the capitals wherever possible, taking cues form Gill and Johnston for letters such as the a and g, with single-tier versions in the italic. A uniquely British font that is now available in a versatile family for modern use.

Eclectic FS Siena is a typeface with history, and not just in the sense of having its origins in classical Roman lettering. Fontsmith founder Jason Smith first committed it to tracing paper while still at college, instinctively redrawing letterforms based on Hermann Zapf’s Optima according to ‘what felt right’. When Krista Radoeva took up the challenge to edit and extend the typeface, she and Jason were determined to preserve its subtly nonconformist and eclectic spirit. Like a great dish, there are individual components throughout the character set that all add flavour, and need to be balanced in order to work together. The smooth connection of the ‘h’ ‘m’ ‘n’ and ‘r’ contrasts with the corners of the ‘b’ and ‘p’. The instantly recognisable double-storey ‘a’ – the starting point of the design – contrasts with the single-storey ‘g’ and the more cursive ‘y’. And only certain characters – ‘k’, ‘w’, ‘v’ and ‘x’ in the lowercase and ‘K’, ‘V’, ‘W’, ‘X’ and ‘Y’ in the caps – have curved strokes. Transitional FS Siena is a contrasted sans-serif typeface, blending classical elegance and modern simplicity. Its construction and proportions are descended from classical broad-nib calligraphy and humanist typefaces, with a high contrast between the thick and thin strokes. The angle of the contrast, though, is vertical, more in the character of pointed-nib calligraphy and modernist typefaces. This vertical stress helps to give FS Siena a strong, cultured presence on the page. Idiosyncratic italics The italics for FS Siena were developed by Krista to complement the roman upper and lower-case alphabets first drawn by Jason. Many of the letterforms are built differently to their roman counterparts: there’s a single-tier ‘a’, a looped ‘k’ and connections more towards the middle of stems, such as in the ‘m’, ‘n’ and ‘u’. These distinctions, along with generally much narrower forms than the roman, give the italics extra emphasis within body copy, where the two are side-by-side. In editorial, especially, the combination can be powerful. To cap it all… In his original draft of the typeface, Jason found inspiration in Roman square capitals of the kind most famously found on Trajan’s Column in Rome. In keeping with those ancient inscriptions, he intended the capitals of FS Siena to also work in all-upper-case text, in logotypes for luxury consumer brands and property developments, for example. A little added space between the upper-case letters lets the capitals maintain their poise in a caps-only setting, while still allowing them to work alongside the lower-case letterforms. The caps-only setting also triggers a feature called case punctuation, which adapts hyphens, brackets and other punctuation to complement the all-caps text.

It shouldn't be a surprise to anyone that these letter shapes are familiar. They have the unmistakable color and weight of Cooper Black, Oswald Cooper's most famous typeface from 1921. What should be a surprise is that these letters are actually from George Auriol's Robur Noir (or Robur Black), published in France circa 1909 by the Peignot foundry as a bolder, solid counterpart to its popular Auriol typeface (1901). This face precedes Cooper Black by a dozen of years and a whole Great War. Cooper Black has always been a bit of a strange typographical apparition to anyone who tried to explain its original purpose, instant popularity in the 1920s, and major revival in the late 1960s. BB&S and Oswald Cooper PR aside, it is quite evident that the majority of Cooper Black's forms did not evolve from Cooper Old Style, as its originators claimed. And the claim that it collected various Art Nouveau elements is of course too ambiguous to be questioned. But when compared with Robur Noir, the "elements" in question can hardly be debated. The chronology of this "machine age" ad face in metal is amusing and stands as somewhat of a general index of post-Great War global industrial competition: - 1901: Peignot releases Auriol, based on the handwriting of George Auriol (the "quintessential Art Nouveau designer," according to Steven Heller and Louise Fili), and it becomes very popular. - 1909-1912: Peignot releases the Robur family of faces. The eight styles released are Robur Noir and its italic, a condensed version called Robur Noir Allongée (Elongated) and its italic, an outline version called Clair De Lune and its condensed/elongated, a lined/striped version called Robur Tigre, and its condensed/elongated counterpart. - 1914 to 1918: World War One uses up economies on both sides of the Atlantic, claims Georges Peignot with a bullet to the forehead, and non-war industry stalls for 4 years. - 1921: BB&S releases Cooper Black with a lot of hype to hungry publishing, manufacturing and advertising industries. - 1924: Robert Middleton releases Ludlow Black. - 1924: The Stevens Shanks foundry, the British successor to the Figgins legacy, releases its own exact copies of Robur Noir and Robur Noir Allongée, alongside a lined version called Royal Lining. - 1925: Oswald Cooper releases his Cooper Black Condensed, with similar math to Robur Noir Allongée (20% reduction in width and vectical stroke). - 1925: Monotype releases Frederick Goudy's Goudy Heavy, an "answer to Cooper Black". Type historians gravely note it as the "teacher steals from his student" scandal. Goudy Heavy Condensed follows a few years later. - 1928: Linotype releases Chauncey Griffith's Pabst Extra Bold. The condensed counterpart is released in 1931. When type production technologies changed and it was time to retool the old faces for the Typositor age, Cooper Black was a frontrunning candidate, while Robur Noir was all but erased from history. This was mostly due to its commercial revival by flourishing and media-driven music and advertising industries. By the late 1960s variations and spinoffs of Cooper Black were in every typesetting catalog. In the early- to mid-1970s, VGC, wanting to capitalize on the Art Nouveau onslaught, published an uncredited exact copy of Robur Black under the name Skylark. But that also went with the dust of history and PR when digital tech came around, and Cooper Black was once again a prime retooling candidate. The "old fellows stole all of our best ideas" indeed. So almost a hundred years after its initial fizz, Robur is here in digital form, to reclaim its rightful position as the inspiration for, and the best alternative to, Cooper Black. Given that its forms date back to the turn of the century, a time when foundry output had a closer relationship to calligraphic and humanist craft, its shapes are truer to brush strokes and much more idiosyncratic than Cooper Black in their totality's construct. Robur and Robur Italic come in all popular font formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages. A range of complementary f-ligatures and a few alternates letters are included within the fonts.

Mymra fonts – an upgraded version of Mymra Forte and Mymra Mono (2009), with a careful re-dress of glyph shapes, and the extension of glyph amounts – which enables support of more Latin languages. One more weight – Black – has been added to the original three of Mymra Forte fonts. Fonts are intended for use in a vast variety of publications.

Ceundah font is inspired by thick and thin Hand Sketches. This font can be used for film titles, magazine titles, newspaper front pages, billboards, or company brands.

Searching for a font that resembled true children's handwriting, this font's creator designed a font from his own first grade penmanship assignments. Ideal for anything related to children.

The Vale Press was a contemporary of Willam Morris's Kelmscott Press. The types used by the Vale Press were designed by artist Charles Ricketts, who also supervised the design and printing of Vale Press books. The main type used, Vale, was based on the Jenson 15th century roman type style. The King's Fount was an experimental semi-uncial font based on the Vale type. The King's Fount was designed in 1903 for the Vale edition of the 15h century poem "The Kingis Quair". This semi-uncial font evokes old English and Anglo-Saxon lettering. P22 Vale Pro combines the two fonts P22 Vale Roman and P22 Vale King's Fount into one "Pro" font. This pro font also includes a Central European character set, old style figures, fractions, ornaments and a special faux "Middle English" feature to make "anee text appeer Olde." This feature is not known to exist in any other font.

Hyomenha is an elegant script fon and handwritten font. Its natural and unique style makes it incredibly fitting to a large pool of designs.No matter the topic, this font will be an incredibly asset to your fonts library, as it has the potential to elevate any creation, this font was designed to enhance the beauty of your projects.

Anttalla is modern script calligraphy font, include front swash and ending swash for lowercase glyph, combine it to make the best word for your design. Anttalla font perfectly match for design like banner, book cover, t-shirt, branding, promotion, social media post, quotes, wedding, photography and more. Hope you enjoy with our font! Attype Studio

Be a trendsetter and get prominent with the best style from the Finest Romance. Finest Romance is a duo font from mixtures of serif and script fonts. This harmonic duo font work hand in hand to produce marvelous designs because it expresses modernity, elegance and a little romance. Additionally, the geometric serif font’s letters are simple and consistent for a great legibility purpose. On the other hand, the script font’s letters are designed to be similar to a handwriting by adding more variations to the letters with curves and final swinging wipes. You can use this font together or separately based on your necessity. With this font’s amazing features, you can enhance your design products. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Finest Romance fits for various design projects, such as posters, banners, logos, magazine covers, quotes, name cards, invitations, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Hopefully, you have a great experience using our font. Feel free to contact us if you require more information when you are dealing with a problem. Thank you. Happy designing.

Evening Paper JNL, one could say, was "culled from the headlines". It was. The front page headlines from some 1938 newspapers archived online were the basic model for this font. The typeface design goes back to a font first issued by Ludlow in the 1920s.

Hellebore is a font inspired by the logo and the game Mortal Shell itself. The font conveys the medieval era, the spirit of cutting weapons and dark fantasy. It is sinister, dark, dark, Gothic, rough and sharp. Perfect for logos, headlines, posters, banners. The font is named after the plant of the same name. The name conveys the font's mood.

Pizza is a font fusion of our Saloon Girl and Mi Casa font families. Our new Pizza font will look great for headlines in your new restaurant menu as well as the sign out front. Pizza offers different levels of ornamentation to choose from to best suit your design needs. Pizza Margherita is a solid black version for plain text. Fill fonts are also available, however, you'll need an application that works in layers to take advantage of the Pizza fill fonts. Fill fonts in the Pizza font family are not meant to be used as a stand alone font, please use the Pizza Margherita font if you need a solid black weight. Pizza is a trademark of FontMesa LLC, initial release December 6-2021

Noman - Bold Display Fontl, retro looking display font. Whether you use it for cartoon related designs, children games or just any creation that requires a lovely touch, this font will be an amazing choice. Features : • Character Set A-Z • Numerals & Punctuations (OpenType Standard) • Accents (Multilingual characters) Ligature

I am not really fond of Garden Gnomes, but this font is kinda cute and I figured it'd be a nice name. Garden Gnome is a very happy, easy to read Children's Book font. It is bouncy, rounded and comes with all the diacritics you need.

SK Leshiy is an authentic monumental font inspired by ancient Slavic legends and fairy tales. This font combines geometric and natural forms, each of its symbols creates a unique image of a fabulous creature that hides in the forest thicket. The SK Leshiy font has a basic and alternative character sets that allow you to expand the font's capabilities and its decorative functions. The font supports a multilingual set and an extended table of Cyrillic and Latin characters.

BRINNA Text is an expressive font with small-sized brushes, which features all caps. It has alternates that are cast in lowercase and alternate letters, which are encoded for capital letters. In addition, this font also comes with many ligatures, numbers, punctuation marks and multi-languages support. This font can be used for design purposes that require handwritten style fonts, headlines, branding, stationery, posters, banners, websites or other designs that are dynamic and fancy. To fully access the font's features, we recommend using programs that support OpenType features. Enjoy this fun and expressive font!

Islandia is simple script font with wide characters. It's relaxing font and easy to use, you don't need any design software to access all characters. Islandia doesn't have uppercase, the uppercase replaced with lowercase that contains tails or swash in the front. Standard multilingual characters, numeral and punctuation included.