Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Veneto Handwriting Pro is a beautiful typeface that mimics true handwriting closely. Use Veneto Handwriting Pro to create stunningly beautiful designs easily. This typeface comes with many pre-made ligatures and alternative characters for sophisticated typography – all easily accessible as OpenType features. A “random” feature even allows for automated random switching between variations of the same character, resulting in type that looks authentically handwritten.

Last Bastion is a strong, resolute serif typeface. The original inspiration came from the idea of an impenetrable medieval fortress that has stood the test of time and defended generations of hardened soldiers. Large stone towers and fortifications are reflected in the font's bold stems. The sans serif font offers a more modern and clean look, while the Gothic font shows the typeface's darker side. All three fonts include alternates for all letters and numbers in both caps and small caps. Last Bastion lends itself to branding, billboards, signage and industry to name a few. The glyph set includes all languages covered in Basic Latin, Latin-1 Supplement and Latin Extended-A scripts.

It's time for a party! A party with monkeys, or a party AS monkeys! :) The danish term "Festabe" is a partyanimal, and definitely in a positive way! And that's the spirit of this font! It has that happy attitude, that could boost your designs in a happy and positive way. Besides legibility, the font is superlegible, even at very small sizes. But try looking at the letters at a LARGE size, and you will notice the smoothness of each letter! To ensure the letters don't get too alike, I've added several (slightly) different versions of each letter. In fact, every letter has 5 different versions, and these automatically cycles as you type!

A “latin” alphabet modelled on the ethiopian Ge'ez script - an experiment that works. Amhara was created by transferring the typical forms of the Ethiopian Amharic script to the west European alphabet. Because Amharic is traditionally written with an expanded pen tip, it shows the typical ductus also characteristic of the uncial scripts of late antiquity and the early Middle Ages. So this font »Amhara« has a somewhat sacramental effect. And, although the individual forms look foreign, the overall picture is strangely familiar. The two styles of »Amhara« include a number of ligatures which dispose of many non-attractive letter combinations. Stylistic alternates are available for some letters, too. Read more about this font at ingoFonts...

For the long time I tried all new something related with handwritten. Something that can't be calculated, can't be estimated, can't be make sure the finished. Feeling is an elegant script that designed many character of each font and ligature that will show elegant taste when You use this font. Feeling can be use in many function for your requirement brands, for logo, blog, website, and all everything that related with letters.With more than 50 glyps of ligatures in this font, I’m sure You will more love with this font. How Feeling will show You like handwritten and looks natural but elegant in taste. Feeling also complete with language support for your requirement.

Patriotica JNL was inspired by some hand lettering designed by the late Alf Becker for Signs of the Times® magazine. The alphabet was modified and the character set extended in this digital version. Special thanks to Tod Swormstedt of ST Publications, Inc. and the American Sign Museum in Cincinnati for providing a copy of the original lettering for use as a work model. Patriotica JNL is available as a complete font or in a set of two layers (stars layer and stripes layer) for creating two-color graphics. As always, keep in mind that there are some slight variations between drawing programs, so some adjustments may need to be made in the alignment of the layers.

Rebel mind - Sans Serif Condensed Font Family - Multilingual supports Rebel mind is a modern Sans serif condensed font family. With 6 styles and multilingual supports, you can easily use the sans serif font feature in many areas. You can enhance your projects from body text to big headlines, from classic to modern and bold styles, you can develop your projects. If you are looking for a condensed sans serif font, this font many meet your needs. Ideal for posters, newspaper, movie title and magazines, magazine covers, editorials, headlines, websites, logos, branding, advertising and more. You can create your unique designs with this font. If you have a question, please contact me. Have a good time.

A unique design accurately revived by Steve Matteson in 2021. Frederic Goudy designed Companion Old Style for Women’s Home Companion in 1928. In his own words: “I believe the new letter I showed him, both in roman and italic, is one of the most distinctive types I have ever made. It incorporates features which deliberately violate tradition as to stress and curves, but which are so handled that attention is not specifically drawn to the innovations introduced.” Companion Old Style exudes the style of pre-World War 2 Americana. The unique characteristics are wonderful for greeting cards, wedding announcements and holiday invitations. Companion’s nostalgic letterforms are light hearted and quirky yet highly readable.

Inspired by the « lettres bastardes », Arthas is a modern interpretation of ancient letterforms dating far back, before type even existed. It has been subtly adapted for better readability in 2020. The sharpness of the design creates an elegant contrast between old and new, ancient and futuristic, and will add an ominous, regal mood to your graphic design projects. This typeface is meant mostly for display use, but we can’t wait to receive a picture of someone using it for introductory text, at the start of a book…. Maybe that’s you? As all of our releases, it will be updated at time goes on. Those updates will always be free for people having already purchased the font(s).

The pages of vintage type foundry catalogs yield so much wonderful type design and artwork. Found within their pages are hundreds of classic text and display faces alongside delicately engraved cuts as well as print shop borders, ornaments and embellishments. These books are treasure troves of their respective times, and Typesetter Ornaments JNL preserves some of that art in digital form. Redrawn from this source material are twenty-six basic design elements that include corner pieces, end pieces, pointing hands, spot illustrations and other designs. Also included are old style parentheses, brackets, an Rx (prescription symbol), two cent signs and a few extra elements located on the number keys and their caps shift counterparts.

Elena Albertoni on Dyna: “While studying in Paris, I worked for a design studio specialized in packaging. French supermarkets are full of lettering with a handwriting flavor, which seems to go very well with a wide range of very different products. With the aim to analyze and summarize the qualities of these letterings in one typeface, I faced choices and limits similar to the ones encountered with handwriting. The letters are sloped at different angles, which gives them rhythm; their open shapes suggest movement and gesture. Letters want to dance!” Dyna Pro’s extended character set provides support for a wide range of European languages that share the Latin and Cyrillic scripts. Cyrillic characters designed by Elena Novoselova

Clara is a set of alphabets of interconnected serif and sans serif fonts. The connection is not only in the intensity of the strokes, i.e. in the identical brightness of the typesetting, but also in the drawing principles of both alphabets. The typeface aims to offer a sense of calmness for a reader even in smaller scales of the typesetting. In large scales it builds on the purity of the image without additional decorations. The Clara system includes maximum equipment of a Latin font from Thin to Black in all versions of marking fonts, italics, capital letters and four kinds of numbers. The typeface allows typesetting of the vast majority of cultural languages of the world.

LTC Kaatskill was made specifically for use in an edition of Rip Van Winkle for the Limited Editions Club. "I feel that Kaatskill owes nothing in its design to any existing face, and the type therefore is as truly an American type as anything so hidebound by tradition as type can be."- F. Goudy This face was one of the first digital typefaces released by the Lanston Type Co. Ltd. Jim Rimmer took painstaking measures in his faithful revival. Goudy had never designed a specific Italic to accompany this face. The Italic completed by Rimmer is a variation on Deepdene Italic. The font set was re-mastered in 2006 by Colin Kahn.

Although initially designed as a rational/geometric font, Triplex developed into one of Zuzana Licko's most intuitive typeface designs at the time. Its first extensive use was in Emigre magazine #14, a special issue devoted to Swiss designers published in 1990. Triplex was intended as a friendly substitute for Helvetica. The name Triplex refers to the three versions that make up the entire family; Triplex, Triplex Serif and Triplex Italic. Each version of the typeface comes in light, bold and extra bold. The italic was designed and drawn by type designer and sign painter John Downer, and was designed to work with both the serif and sans serif versions. See also Triplex Italic OT.

As long as there’s been movie theaters, those establishments became the perfect hideaway for couples who wanted to kiss, hug and snuggle without the watchful eyes of disapproving parents or the pesky attention of younger siblings. Such was evident in the [13 word] title of the 1919 composition “Take Your Girlie to the Movies (If You Can’t Make Love at Home)”. On the sheet music for this song, it is hand lettered in the Art Nouveau fashion of the time by a round nib pen, and made a perfect candidate to be redrawn as a digital typeface. The end result is Nouveau Theme JNL, which is available in both regular and oblique versions.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Schneid Handwriting Pro is a beautiful typeface that mimics true handwriting closely. Use Schneid Handwriting Pro to create stunningly beautiful designs easily. This typeface comes with many pre-made ligatures and alternative characters for sophisticated typography – all easily accessible as OpenType features. A “random” feature even allows for automated random switching between variations of the same character, resulting in type that looks authentically handwritten.

The “Ultimate Script”? Not yet, but we’re working on it! Just think: Loads of ligatures, contextual variations and stylistic alternates, coupled with easy use…Just what you’ve been looking for all this time? Well, here it is with all of its typographic power. The perfect partner for you: Technically adept, but still good-looking! What more do you want? Die „Ultimative Schreibschrift“? Noch nicht, aber wir arbeiten dran! Man denke nur an: Mengen an Ligaturen, kontextbezogenen Varianten und stilistischen Alternativen, gekoppelt mit leichter Handhabung…Genau das, was Sie die ganze Zeit gesucht haben? Na denn, hier ist es in all seiner typographischen Mächtigkeit. Die perfekte Partnerin für Sie: Technisch versiert, aber auch gut aussehend! Was wollen Sie mehr?

Coleface was created by the British typographer Roy Cole, completed shortly before his death in 2012. It comprises six fonts: Coleface 30, 60, 90 and the italics 33, 66, 99. As with his earlier typeface families - Lina, Zeta and Colophon - Coleface is a highly-readable sans serif typeface that offers significant flexibility in terms of its potential uses. Roy Cole studied typographic design under the tutelage of Emil Ruder at the Gewerbeschule in Basel, at a time when typographic history was being made through the creation of a style that epitomized modernity. Consequently the principles of order, simplicity and legibility, fused with experimentation, became a hallmark of his practice, as exemplified in his last font Coleface.

Loew is a geometric sans serif font influenced by the methods of the early industrial designers. Pure mechanical shapes are carefully adjusted to give the characters the right form, function and usability. These subtle human touches combined with the technical detail provide great readability at both large and small point sizes. Loew is a versatile sans serif font with simple and honest geometry aimed at a wide range of modern applications. Details include over 800 characters with alternative lowercase a, e and g. Seven variations of numerals, true small caps with accents, manually edited kerning and Opentype features. For additional non-latin language support in Cyrillic, Greek and Arabic, visit Loew Next and Loew Next Arabic.

My Left Hand is exactly what it is...well, not my actual flesh-and-blood left hand but my actual handwriting, and I know that it really is My Left Hand because people tell me all the time, "You're left-handed!" When I hear people say that, it always reassures me that I am left-handed, in case I am ever doubtful about it. Five of the last eight U.S. presidents have been left-handed, so we're in good company, no matter which political party you're a fan of. This font has an appealing rough look at large sizes, but at smaller sizes it looks smooth as silk. Digitized by John Bomparte.

Kontora is elegant, universal and laconic geometric sans. Kontora has minimal amount of decor, mostly modern proportions and letterforms, but at the same time shows a touch of retro constructivist aesthetics. This version of Kontora sans comes in 9 weights, it has 590 glyphs, therefore it supports Latin Extended A (Western and Central European) and Cyrillic (Russian, Ukrainian, Bulgarian) languages. It has basic ligatures and two sets of stylistic alternates. Kontora is perfect for clean and minimalistic design, as well as it can be a breath of fresh air to a fully loaded complex layout. Use it for bold typography, headlines, posters, branding, packaging, it looks great in all caps and vivifies design as a text font.

The idea of Transport originates from text found on the large wooden boxes used for transport. Such text is still stencilled on them in the same way as the companies have done for decades, at least. That explains the typeface's name, too. If you find some similarities with Devin, you are right. Transport is nothing other than a special variant of Devin. But since the two are aimed for totally different uses, I decided to use two different names for them. Transport is a mecane and its use is primarily as a headline typeface. But in small quantities it can be used even for body setting, if special effects are desired. Transport was released in 1994.

The Modesto Text Family is text in name only. It’s called Text because it has a Lower Case, and also to distinguish it from the rest of the Modesto clan. Modesto is a loose-knit family based on a signpainters lettering style popular in the late-19th and early-20th centuries. It evolved from the lettering I used for the Ringling Bros. and Barnum & Baily Circus Logo. The Modesto family was not planned. It just happened, a few fonts at a time over about fifteen years. In 2014 seven new Italic fonts and two Chromatic families were added. There is a downloadable MODESTO USER MANUAL PDF in the Gallery section for this family.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Experimental lettering Stephen Rapp created in 1999 became the spark that Stephen's imagination transformed into the Tai Chi design. Tai Chi is a display face but it could also be used as a textured calligraphic script. Its delightful sense of movement distinguishes it from other scripts. Individual characters stand poised in a vertical Zen-like balance while at the same time displaying an inner rhythm that makes them appear to dance along the line. Rich in texture and variation, Tai Chi works very well at medium and large point sizes. The font contains several alternate letters that help maintain a hand-lettered look. Tai Chi includes both upper and lowercase letters but works well in all uppercase settings.

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Say hello to MonsterPie. This font brings the funny appearance of irregular designed characters together with the classic look of the Didone typefaces from the 18th century – that makes it a good choice for theme parks, movie posters, games, greeting cards and kid’s products. A large database and plenty of alternate characters work in the contextual alternates feature to keep your headlines bouncing all the time. Other implemented Opentype features are case sensitive forms, ligatures, arbitrary fractions and many more. On top, MonsterPie has a set of nice arrows, two different ampersands and extensive support for south-eastern, central and western european languages, as well as for Pīnyīn to offer. Designed by Marc Lohner in 2016.

Senko Hanabi (線香花火 - Japanese: incense-stick fireworks) is a type of Japanese sparkler. These traditional sparklers are said to evoke “mono no aware” - “an empathy toward things”; the flash of sadness when reminded of the fleeting nature of life. I am always a bit melancholic this time of the year, so when I created this font, I wanted to give it a suitable name. Senko Hanabi was made using a brush and Chinese ink. It is a beautiful font, which comes with stylistic alternates, discretionary ligatures and a sparkling amount of diacritics. Remains for me to wish you all a very happy new year. Let’s do our best to make it one worth remembering!

In the last years our society has change a lot. Nowadays cities and countries are no longer static territories with well-drawn borders and a population perfectly defined. Globalization is a fact and the best consequence of it is the mixture of races, ideas and cultures, and this is exactly what this typography aims to show. Albollón is at once a semi-serif and a semi-sans serif typeface; it is a mixture made with the best parts from both sides. This way is how I understand a healthy society and a healthy design too. Albollón is designed to work in all types of text, both long and shorts, big and small ones.

PiS Hansch has its origin on a small graveyard in Salzburg, Austria. The hand-carved epigraph on a weathered tombstone inspired PiS to create this slightly twisted serif monster. It contains OpenType Features including contextual alternates (you get three different versions of 's', two different versions of 't' and much more), some ligatures and a very special Long S substitution feature that throws you over a hundred years back in time by changing your everyday small "s" into the classic "long s". Use PiS Hansch for your new Metalcore band logo, a zombie flick poster or some hack'n slay computer game titles. works both in display size and for texts in smaller sizes.

Chucara next is the newest font designed by Juan Pablo De Gregorio, a typeface aimed at high readability when set in paragraphs or large chunks of text. Its predecessor "Chúcara", born in 2003, sought after increasing readability by achieving big and simple counterforms. This time around Juan Pablo went further by increasing the X-height and trimming both ascenders and descenders, thus the font appears to be much larger than it is and can be readable at smaller sizes. The DNA of the whole font is marked by the terminal of the "a" character. Juan Pablo used a specially crafted cut to design this counterform, and this shape together with the graceful and winding forms of the letter resembles the form of a horse, hence the name Chúcara, or untamed. The italic version has a 10-degree angle and a 10% condensation, making it way more streamlined than a regular italic font. The Philosophy of a larger counterform is maintained through and through in the italic variant. This version looks different not only due to its inclination, but the sheer effort put into carefully taking care of the condensation and the gestures allow the italic to enrich the texts gracefully, for the highlighting of the words stands out without affecting the grey of the paragraph. Chucara next is a typeface optimal for being used in books, newspapers, magazines, texts, printing, headlines, editorial, quotes, corporate identity, and lo res printing. The typeface has 8 weights, ranging from “thin” to “black”, and two versions: "regular" and "italic". Its 16 files contain 635 characters with small caps, stylistic sets and different kind of numbers. It supports 219 Latin-based languages, spanning through 212 different countries. Chucara next supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

Heller Sans JNL is based on the main letterforms of an experimental alphabet designed by Steven Heller; noted author of over 170 books on design and visual culture. Some modifications were made in turning his design into a digital font. In his own words, here is the background to this typeface: “I recently recovered this from the junk heap. It is a yellowing photostat of my first and only typeface design (1969-70). Total folly! At the time I was smitten by Art Moderne lettering. I called it “Klaus Boobala Bold” because I liked the K and B. I’ve lost the letters S through Z, which were made. The letters were drawn with compass, Techno pen (that frequently clogged). as well as a triangle and T-square. The inline and outline made no real logical sense. I based the design, in part, on Kabel, Avant Garde and it was a product of whatever I could accomplish with those tools. The caps-only alphabet was photographed and produced as a film negative that was cut in foot-long strips and spliced to fit on a Typositor reel. Sadly, the negatives made for the font were too brittle and the splice snapped apart in the Typositor. I worked on it for well over a month and used the face only once. I realized with this attempt, like so many other times I attempted different challenges, that type design — indeed mechanical drawing — was not my strong suit.” Heller Sans JNL is available in both regular and oblique versions.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. The world is a very big place, the world is for travelling. And that’s what Francisco did, travel. Though born in Spain, he was raised in Brazil, where he worked as a graphic designer. He spent years hitchhiking round South America, his eagerness to see and learn new things preventing him from settling in one place. He returned to Spain an old man, to find his roots. Francisco never dreamed he’d end up in the street: “The experience of the street has taken away my vanity,” or that he would grow as a person there. “The only thing I’ve learnt in life is that in life you have to learn, because if you spend your life without learning you haven’t lived.” In Barcelona, the street changed his life and taught him just how tough it can be. Tough, but full of good people. He says that’s the best thing about the street.

There are many script typefaces but there is only one Scripticus. Scripticus is like a chameleon: In whatever surroundings you put it, it adapts itself and looks like it couldn't be anywhere else. Be it a sales advertisement, a music Website, a comic strip or a journal with complex chemical formula – Scripticus always solves the problem in a natural and leisurely way. And it never makes compromises concerning clarity. But where does Scripticus come from? … From the good old high school blackboard! Blackboards have become almost obsolete in teaching, but be it a black or white background – clear, strong characters placed on the board while the facts are explained are still one of the best ways to make and keep things understandable. Scripticus is dedicated to my high school chemistry teacher who was an expert in just this. While the letterforms come from different inspirations, its aim is the same as the pedagogical aim of my teacher: Combining clarity with a strong personality. Scripticus has a special trick to give it its natural look: Four alternates for each letter and each number plus rotation coding make the glyphs appear in lively melodic flow. In this way even mathematic equations look nice! Scripticus has a lot of OT-features that help it do its job. They are: capital spacing, localized forms, subscript, scientific inferiors, superscript, numerators, denominators, fractions, ordinals, tabular figures, historical forms, ligatures, stylistic alternates, stylistic set and ornaments. Finally, as is my general goal in type design – Scripticus supports close to one hundred languages from Latin extended to Cyrillic extended.

Busted is the very strange and out-of-character outburst of Bill Troop, a guy who was classically trained in everything, from classical piano and literature to classical photography and type design. As far as we could tell, Bill Troop is the kind of guy whose appearance and voice instantly trigger thoughts of black and white photos, fedoras, and pre-industrial age Europe. A few years ago, he even moved from the United States to England, where it took him less than a week to feel at home and start sounding like a Norwich native. Then something happened and the poor dude just snapped. Busted is the controversial result of the blood rushing to his head. If you know what exactly happened to him, please let us know. Concern, consideration and human interest story aside, Busted is a fascinating thing. It is a set of four interchangeable thick outline fonts where the same letter forms turn from wild to wilder to broken to somewhat clean. Mix them up in a setting and you have words that snarl with a sneer. Life's too short. Take it all with a grain of salt. Scream whenever you feel like it. Busted Pro is a single font combining all four character sets, and rigged with an OpenType pseudo-randomizer in the contextual alternates feature, which you can disable or enable anywhere in your setting for maximum visual shock just the way you like it. Works just as well in PAL or SECAM. Don't be fooled by imitations, and don't get caught with your drawers down.

Night Light is a specially created collection of seven neon inspired fonts giving designers the power to replicate traditionally hand-made lettering from the comfort of their own computer. Choose from the selection of script, sans serif and outline fonts to set your text. Then apply our custom graphic styles for a life giving jolt of electricity! The appeal of neon lettering lives in its power to display a message in a functional, eye-catching and timelessly cool way. How many times have you stopped in the street to admire a bar sign or shop front blazing with neon colors? It's aesthetic works equally well for a Hot Dog stand or high-end fashion brand, providing a tried and tested technique for grabbing customer attention. I've designed these fonts to make the power of neon accessible to all, investing time to research real neon signs and how they are made, paying attention to their human imperfections and inherent limitations (all of which makes them). This research has been distilled into these essential styles; Script, Outline, Inline, Square and Compressed. These seven core fonts give designers a new opportunity to take advantage of realistic neon lettering in their print and online projects, perfect for music promotion, film titles, YouTube tutorials and gig posters. Ready to be moulded to any requirement, the power of neon is in your hands. Neon Graphic Style Presets Available Here The link above provides access to the graphic styles seen in the visuals with support for Adobe Photoshop, Adobe Illustrator, Adobe After Effects. Simply download and follow the instructions provided.

The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S™ , which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG’s DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years. After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype’s Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.

A gentle breeze on a warm summer's day. A cozy gathering of friends and family around a crackling fire. The sweet aroma of freshly baked cinnamon bread. A slow walk in the autumn woods, light sparkling down through the multi-colored leaves. Billowing white clouds against a stark azur sky, leisurely floating past the tops of palm trees. What do these idyllic scenes all have in common? A: Most people can never find the time to enjoy any of them. B: These are just some of the things you would never try to describe using a crankish font like Spleeny Decaf GD. Just as ITC Fontoon was designed to be used with the many critters that populate the "Toonie" series of fonts, Spleeny Decaf GD was created by Steve Zafarana for use in the balloned dialogue portions of a new panel cartoon feature currently under development. Spleeny Decaf GD is the first completed font in a family that ranges from the jittery san serif Spleeny Espresso GD to the sedate and serifed Spleeny Asleep GD. Each font in the series appears a little more relaxed and staid than its predecessor. None of them however, will find themselves being used for the text of any legal documents. Spleeny Decaf GD is the perfect font to use when the weight of the message is leaning towards the light and jocular side of things. So remember, if your documents are starting to put you on edge, it may be time to switch to decaf. Spleeny Decaf GD that is.

Hello, introducing new font, its called Blushing. Blushing is natural beauty handtype. im making this font for specific product. this font very match for your beauty product : Cosmetic, Cream product, Nail art, Spa & Beauty, Lipstick, Shampoo and etc. You can mix and match with regular font. what's included inside the font ? Uppercase Lowercase Numeral & Punctuation Multilinguals Standart Ligatures Thank You!